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Born in 1986, Igor Dimitri completed an MA in Documentary Film at the Universidad del Cine in Buenos Aires, Argentina, in 2018. The resulting dissertation focuses on the work of editing in documentary cinema, with a main focus on the work of German director Harun Farocki. In theoretical terms, Dimitri has a strong interest in the historical periods of the avant-garde, the documentary genre and also experimental cinema. As a creator, it all started with “Recycled Madonna”, his first film, a commission from the DocLisboa Festival, in 2012, which inaugurated the section “Cinema de Urgência”, which still exists today. In 2017, it was at the Porto/Post/Doc Festival that his short film “A Estrela Mais Próxima do Sol” won the best film award, in the “Cinema Novo” competitive section. More recently, in 2020, it was “ELF”, a short film that integrated the exhibition resulting from the works of the Light Cone artistic residence, Atelier105, in Paris, in 2020, that attracted the attention of specialized critics. In the same year, Igor Dimitri premiered “Salsa” at the Rotterdam International Film Festival. This is about the theoretician and the director, because the creator, the video-maker, the visual artist has more work done. Here, in close collaboration with the project Chão Maior. (LL) 



  • Chao Maior
Igor Dimitri,
“Drawing Circles” is the debut album by the sextet Chão Maior, and those who are curious, to know a little more about what will happen in this session, can find clues in “Passo 2”, the video clip directed by Igor Dimitri. But we will get to know the filmmaker better in a moment. For now, let’s put our feet on the ground: Chão Maior is an eclectic project led by Yaw Tembe (composition, trumpet), alongside Norberto Lobo (guitar), Leonor Arnaut (voice), João Almeida (trumpet), Yuri Antunes (trombone), and Ricardo Martins (drums). Six of the most interesting musicians from the Portuguese experimental jazz scene perform the compositions of Yaw Tembe, who wrote the first sketches of the debut album, “Drawing Circles”, which has now also become a sound and image show, where jazz, rock and folklore enter into osmosis in a tone of improvisation and experimentation. What can be heard in “Drawing Circles”, the band’s debut album, will echo in the show, which guarantees a total balance between the musicians in a symbiosis on stage, here expanded by the moving images of Igor Dimitri. This union on stage explores several languages for Leonor Arnaut’s vocalizations, with the human presence in furtive landscapes that get lost and meet in a territory populated by disparate sonorities, in a kaleidoscopic construction as harmonious as fragmented, in short, absolutely post-modern. And the inspirations, or attractions, of a libidinal economy of musical bodies are clearly evident: Sun Ra, Eddie Gale or Ornette Coleman, just to draw a few circles on the screen. “Drawing Circles” thus translates the soundscape of jazz, rock and marching bands that, on the stage of Curtas, is transformed into an even more ambitious process, creating a more open, wider floor, a truly bigger floor. Let us leave here the words of Yaw Tembe, in an excerpt from an interview granted to “Rimas e Batidas”, where he explains, precisely, how this ground was born: “The name [Chão Maior: “chão” means “ground or floor”, and “maior” means “greater”] comes from a collective effort, a kind of brainstorming... but what was the basis for this brainstorming was this idea of thinking of a music that relates to the ground, in this case with something concrete, maybe in opposition to something more ethereal or more abstract. The music itself comes from these drifts that have this relationship with the ground very present. So the idea of the ground was present. [...] The relation with the ground comes from that, of not being something delimited in a very specific territory and a territory that we already know. I am interested (and we are) in this search for more than a ground closed in on itself”. And so the ground became a vision. (LL)