This condition ensured that we took on the production of the film without fear of making mistakes and also as an antidote to the idleness and uncertainty of the future. A good example is the stadium scene: when I wrote it, I imagined a crowd, but then Covid arrived and we couldn't even fit five people in. I was never afraid, because I know that reality and this mixture of magic forced me to find other ways of representing the same feeling. I know it may sound theoretical, but I think it's very real and rational. Because we're used to living like this in Angola. We have to make do with what we have, even for movies.
A lifetime of bleeding and crying. A lifetime of undoing the body to understand the body, to receive the body. This is configured in many ways. A woman disconnected from her womanhood loses her hair, loses her scales, becomes a porpoise. And a porpoise is a man, even if it’s a fish, and even if it’s female. A thing, ladies and gentlemen, is a thing. The other is a porpoise, and a porpoise is a porpoise, a woman is a woman, one is slippery and the other isn’t.
Dear racialized friend, we both feel the weight, so let me end here as it’s getting late, when we talk about racism, whiteness and privilege, don't ever forget to create contexts, don't repeat the same claims as if they were refrains, don't talk about the system as if it operated and oppressed in the same way everywhere, with no aims or changes or such affairs, or as if the context of blacks in the USA was the same as that of blacks in Portugal, and of blacks in Brazil, and from there to blacks in Guinea.
This condition ensured that we took on the production of the film without fear of making mistakes and also as an antidote to the idleness and uncertainty of the future. A good example is the stadium scene: when I wrote it, I imagined a crowd, but then Covid arrived and we couldn't even fit five people in. I was never afraid, because I know that reality and this mixture of magic forced me to find other ways of representing the same feeling. I know it may sound theoretical, but I think it's very real and rational. Because we're used to living like this in Angola. We have to make do with what we have, even for movies. 
A lifetime of bleeding and crying. A lifetime of undoing the body to understand the body, to receive the body. This is configured in many ways. A woman disconnected from her womanhood loses her hair, loses her scales, becomes a porpoise. And a porpoise is a man, even if it’s a fish, and even if it’s female. A thing, ladies and gentlemen, is a thing. The other is a porpoise, and a porpoise is a porpoise, a woman is a woman, one is slippery and the other isn’t. 
Dear racialized friend, we both feel the weight, so let me end here as it’s getting late, when we talk about racism, whiteness and privilege, don't ever forget to create contexts, don't repeat the same claims as if they were refrains, don't talk about the system as if it operated and oppressed in the same way everywhere, with no aims or changes or such affairs, or as if the context of blacks in the USA was the same as that of blacks in Portugal, and of blacks in Brazil, and from there to blacks in Guinea. 
