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Majnun lives his life online in his grandparents' well-appointed
home in the Brazilian capital. No school, no work-just bored in
Brasilia. After falling in love with a married woman, however, he
flees to Madrid with friends, intent on, well ... something.
Writing a historical novel about medieval Spain? Or perhaps
converting to Islam and heading to North Africa? As Majnun floats
through the crowds of Catholics, through encounters with legitimate
medievalists, through romances, friendships, mosques, and palaces,
his vague interests threaten to boil over into violent, even deadly
action.
Isolating these moments in his memory and attempting to analyze
them much like a lens, he envisions "a haiku stripped of rhetoric
that captures only what is in front of the camera." Yet, deprived
of his sight, the photographer now must reconstruct his experiences
as a series of affective snapshots, a diary of his emotions as they
were frozen on this or that day. The result, then, is not the
description of a remembered image, but of the emotional memory the
image evokes. Joao Almino here gives us a trenchant portrait of an
artist trying to close the gap between objective vision and
sentimental memory, leafing through a catalog of his
accomplishments and failures in a violent, artificial, universal
city, and trying to reassemble the puzzle that was his life.
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