Prana Filmes

Deus Ex-Machina

(35 mm, 25 min, color, 1995)
(1.85, Mono Optical Sound)

Dolores, a beautiful, rich and paralytic woman, hires detective Otávio to follow her husband Inácio and to find out what’s his true relationship with a young woman named Alice. A story of lies, false leads and obscure motivations, in which four characters of dubious moral try to appear honest to one another.

 

Credits
Witten and directed by: Carlos Gerbase
Executive Producers: Luciana Tomasi and Nora Goulart
Cinematography: Alex Sernambi
Art Direction: Fiapo Barth
Soundtrack: Ricardo Severo
Production Manager: Daniela Dall’Agnol
Editing: Giba Assis Brasil

Main Cast
Luciene Adami (Dolores)
Leverdógil de Freitas (Otávio)
Werner Schünemann (Inácio)
Daniela Schmitz (Alice)

 

Awards
– 23º Festival de Gramado (Brazil, 1995):
Best Film (Official Jury and Critics’ Prize), Best Director, Best Screenplay, Best Editing, Best Music, Best Actor (to Leverdógil de Freitas); and 4 regional awards (Best Picture, Best Director, Best Film and Best Cinematography)

– 28º Festival do Cinema Brasileiro de Brasília (Brazil, 1995):
Best Film (Best Screenplay), Best Screenplay, Best Cinematography, Best Contribution to Short Language

– 8º Festival Internacional do Curta-Metragem de Clermont-Ferrand (France, 1996):
Special Mention of the Jury

– 19º Guarnicê de Cinema e Vídeo (Brazil, 1996):
Highlight of the Official Jury, Highlight of the Popular Jury, Best Editing

– 13º Rio-Cine Festival (Brazil, 1996):
Best Screenplay and Best Actor (to Leverdógil de Freitas)

– Included in the selection “The 30 Classic Brazilian Short Films of the 1990s”.

 

Awards
“The audience (in Festival of Brasília) simply loved. Received the highest ovation since the beginning of the competition. Well deserved. It’s a noir story told with rare cinematic intelligence. In a perverse loving game, an intricate case involving conjugal infidelity and manipulation is mounting in the viewer’s eyes as a puzzle. (…) The film is an example of how one can innovate without departing from the average audience.”
(Luiz Zanin Oricchio, O ESTADO DE SÃO PAULO, 1995)

“Enough of heroes and villains! Gaucho director Carlos Gerbase creates in Deus Ex-Machina a fascinating script where there are only confused and limited human beings. The characters have already faced all the possible accidents of course, and now, without God and without the facilities of the oracles, they try to find reasons to continue living and lying.”
(WONDERFUL MAGAZINE, October 1995)

“Gaucho director Carlos Gerbase makes Deus Ex-Machina as a study of relativism, telling a story of crime and adultery from divergent points of view. It’s quite impressive how you manage to put so many perspectives superimposed on a short film. It’s his best job. In fact, the best work of the Gaucho group for many years. The highlight, in addition to the intricated script, which doesn’t alienate the viewer, is for the editing of Giba Assis Brasil. It gives to the plot a puzzle structure, whose meaning is only revealed in the end.”
(Luiz Zanin Oricchio, O ESTADO DE SÃO PAULO, 03/22/1996)