Cisma: Criolo “Duas de Cinco”

If Spike Jonze’s vision of the future in Her was too sunny for you, try on Denis Cisma’s decidedly bleaker take in this short film inspired by Criolo’s latest album, “Duas de Cinco.”

Set in the south side of São Paulo, where Criolo grew up, the short involves 3D printed weapons, futuristic drugs and the inescapable dangers of poverty. The film seems to agree with the old adage: the more things change, the more things stay the same.

From the release:

From the start, the director imagined a record of the Brazilian’s “favelas” in the future, 30 years down the road, in 2044. This idea was too ambitious to materialize without large sums and Criolo is an independent artist, but became possible with the support of the Grajaú community and the production team.

Nearly the entire cast is made up of friends of the singer and people who live in the neighborhood, most of whom had never acted before. The main cast includes Daniel Dantas, Morgana Naughty and Léo Loá, young students chosen with help from the drama teacher of CEU Jaçanã public school, named Tiago Ortaet.

Produced through Paranoid, Clan did an admirable job handling all post-production.

Credits

Main actors: Daniel Dantas, Morgana Naughty and Léo Loá
Direction and screenplay: Denis Cisma
Production: Paranoid
Photography director: Will Etchebehere
Post-production and visual effects: CLAN vfx
Assembly: Fernando Stutz and Marilia Ramos
Soundtrack: Duas de Cinco – composers: Criolo, Daniel Ganjaman, Marcelo Cabral and
Rodrigo Campos | Cóccix-ência – composers: Criolo, Daniel Ganjaman and Marcelo
Cabral
Recording and editing studio: Oloko Records
Production coordination: Andrezza de Faria, Luciana Oppido, Gabi Hahn and Marina Blum
Production director: Silvio Bettoni
Post-production coordination: Andreia Lopes and Roberta Bruzadin
Coloring: Fernando Lui
Graphics: João Schimidt
Composition: Gustavo Samelo
3D supervision: Luciano Neves
Executive production of post-production: André Pulcino
Executive production of post-production assistant: Diego Souza
Assistant director: Camila Andreoni
Art director: Olívia Sanches
Art assistant: Clarice Cunha
Stagehand: Igor Apoena
Art clerks: Felipe Santana and Marcão
Wardrobe: Marina Vieira
Wardrobe assistants: Vinicius Couto and Tainara Dutra
Objects production: Bella Yumi
On-location production in Grajaú: Bruno Camargo
Machinery: Israel Basso
Gaffer: Marcelo Pinheiro
Cameraman: Thomas Dupre
Camera assistants: Joana Luz and Cris Zurrilho
Direct sound: Rene Brasil
Make-up designer: Denise Borro
Make-up artist: Lilian Berzin De Oliveira
Casting producer: Barbara Catani

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About the author

Justin Cone

/ justincone.com
Together with Carlos El Asmar, Justin co-founded Motionographer, F5 and The Motion Awards. He currently lives in Austin, Texas with is wife, son and fluffball of a dog. Before taking on Motionographer full-time, Justin worked in various capacities at Psyop, NBC-Universal, Apple, Adobe and SCAD.

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  • Dominique

    Honestly, I could not even watch that second part Justin. The last time I saw someone eat excrement on film was in Pasolini’s Salo, a film about fascist Italy, and banned in many countries. Bleak is right… It’s hard to talk about technical prowess in that conceptual context, but I suspect that’s what will seduce.

    • Given that this film was produced by a team that is from the locale it depicts, I have to trust that their commentary about Sao Paolo has some root in truth.

      The main point of this film (and this is corroborated by the director/writer) is that while it’s set in the future, when things are supposed to be better, everything is still the same.

      I think feeding a rich denizen his dog’s shit is powerful comment on the extreme anger that class divisions create — both now and in this imagined future.

      Unfortunately for me, it’s not the first time I’ve seen someone eating poop on the internet. Guess I’m de-sensitized to it.

      • Dominique

        No doubt Justin. And I hope that it’s the takeaway (and that content prevails over technique), in all its flawless cinematography and compositing.

        • Who gives a shit about the shit! that was amazing! ;D

          • Margherita Ballarin

            oh yes!

  • José

    Films is alright but I am not sure If I agree about this apologetic way of picturing violence, prejudice and hate. Also keep using favelas as a way of selling a product / film or music is something that doesn’t add anything positive. Favelas are part of shame for Brazil and brazilians not something to be proud of. I believe that creators, artists, musicians etc have the responsibility and the tools to contribute to a change to the society they live in. Picturing poor people relying on firearms to channel social resentment, in a war of social classes and picturing a country still unfair and unequal in 30 years time …is nothing more than bringing a sense of hopelessness to the young generation of brazilians that are the target of this video / tune. Like “hey you can print a firearm and seek revenge. It’s cool! Yeah!! kill someone and destroy another family. It’s cool..no it’s not.

    Graphics and lights are really cool nonetheless. A mixture of breaking bad with elysium mixed with neon lights.

    • I agree with you, 100%!

    • Daniel

      Say that the film encourages youth to have that same attitude is at least belittle the intelligence of those who watched. The favela is a reality in Brazil and show a hypothetical reality hence thirty years when few positive changes may have occurred makes people think in a different alternative for the future. Maybe this has been the contribution of the artist. Make people think of alternatives and possibilities and not only give solutions, especially because they do not yet exist.