Entrevues Belfort [France, 2010]
Festival Hors Pistes – Paris [France, 2011]
Festival Premiers Plans – Angers [France, 2011]
BAFICI 2011 – Competition [Argentina, 2011]
Eurocine [Madrid, Milano, Luxembourg, Bruxelles, 2011]
International Film and Media Festival – Cinema City – Hungry Days Program [Serbia, 2011]
Munich Film Festival [Alemanha, 2011]
BAM (Brooklyn Academy of Music) [E.U.A. 2011]

In the “moment” the Big Bang happened the universe was condensed into protomatter (or even condensed into nothing), the matter from which all cosmic reality emanates.
( unreadable section ) … the universe became the whole matter that each one of those dimensions contains, and time, or times, that cross all those dimensions.
Furthermore, some scientists believe that the mathematical laws that rule all this are better expressed by a model containing not only the conventional four dimensions but also another six. And those six are there to accommodate some of the currently existing yet incompatible theories which do not fit the four-dimensional model.
Well, these theories are purely mathematical – as far as we know – and should not be thought of as vectorial dimensions, x y z, but rather as a conceptual resource that we use to harmonise the laws of Nature.

What few people realise is that plutex was born at the dawn of creation.

When we accept that our familiar dimensions were born in the genesis of the Universe and that, simultaneously, in some symetrical anti-genesis, the other (six?) dimensions extinguished themselves in order to create room for a more harmonised relation of forces – the ideal stage for welcoming the first few nuclear life-giving sparks, so crucial that they would slowly start (one star, one proton after another, quarks with raspberry jam) the light show of combined atoms that designs our reality – we understand plutex is an entropic receptacle of energy, which only exists because Creation decided to keep backups of redundant data to compute Space and Time.

In other words, its endless possibilities we can’t even begin to imagine. But from transmutational objects to interdimensional travelling and to re-enactment of the Big Bang in our local café, plutex ensures that any wish is granted, even a cataclysmic one. At the same time, plutex (unknown total quantity; for instance, what reserves are there of plutex, a few grams, maybe?) doesn’t allow that wish to be formulated in a light manner.
Plutex’s atomical weight and volume change frequently. It’s suspected that this is due to the Universe’s constant panting, an echo of its ever-going expansion.

When the universe reaches its end, whatever that may be, what we know as plutex, probably kept in a drawer in some lab, will create a new fabric of time; only this time, it will be pluri-dimensional, an unclassifiable chaos where only the purest of things will ever exist.

( unreadable section ) … to what was sacrificed when the Big Bang happened, all for a more plausible Universe.
However, for that reason, it is also the negation of reality, and a more ill-disciplined use of the substance could wipe everything (all) [all] out at the
blink of an eye.

a microscopic splinter in a lab dish can create 75 pocket-size valhalas
or the most abrupt (and only) End.

#02

João – One thing is for sure: I am not going to be like the Ching widow. I’m not using this to negotiate our redemption.
Marta do Monte – That would be like handing over the gold to the thief.
Van der Linden – Above all, it would be a death sentence. The plutex community would wipe us out in no time.
João – That is the case. And therefore you can play along or hit the road. We can easily dock anywhere in Morocco and each one goes their own way…
David – And playing along is…?
João – The Rose.
The Rose used to be a guy like me. Until he had enough.
Manuel – Had enough, how?
João – Had a sudden change of heart.
Had too much. He killed all his crew, set the Black Swan on fire and retired.
Melo – Oh, oh…
João – With some luck I may be able to locate him and suggest a deal.
Juana – Holy Santa Maria Fuck!!

By choosing to aggregate instead of rejecting, by combining scholar and popular culture, classical and modern diagrams, tradition and unseen, The Sword and the Rose makes a stand. Without tears or regrets, without fear of the eternal Portuguese ghosts, without that panic of the ridicule that has traumatized the Lusitanian national identity for centuries, without gravity, without quixotic dreams, without certainties. Because the statement comes from these uncertainties, this disorientation, in well thought images, substantial, significant, well chosen. In fact, the territorie designated byThe Sword and the Rose is land, back on firm ground, not the sea of scientific adventures, the paradise islands that only made sense when they had their reproduction in travel maps. Milton, Stevenson, Camões … these guys are on the curve of our times.
Paulo Santos Lima
* Kinetics, Film Critic *