My name is Renata, she says

Director Statement

To talk about death and mourning from the 1st person point of view, one must use poetry.

To find poetry in an archival video documentation that is 15 years old, one must play with conventions...

The whole dynamic of the film operates on the contrast between the conventional aspect of the archive and the non-conventional use of one of its elements : the subtitles.
Subtitles are synched with voices but keep on appearing when the voices become silent.
Subtitles describe what is said rather than translating what is said.
Subtitles describe the whole situation rather than sticking to the speeches.
Subtitles become a letter to friends with whom that sad news wasn't shared.
Subtitles become a love letter to a past lover: the stage and the dancers.
Subtitles explore that mental space that literature occupies so brilliantly.
Subtitles finally translate in real time what is said. And what is said strangely resonates with the whole literature that came before.

From the first seconds of the film I want to work with rules in a playful and dynamic way so that the film will define its own system on the use of subtitles. The viewer will slowly understand that what could have been a translation following the tempo of the speech on stage, is actually a narration given from a subjective perspective. Various time dimensions will share the moment and sometimes collide. The present feeling of the performance will echo the events from the minutes, days and months that came before. The future consequences of each real time actions will be revealed and the ending will be anticipated _ according to the theatrical tradition of greek tragedy. Through this spiderweb of storytelling, my 15 years later point of view will mirror 2 personal paths: the one before that night and the one after.