Silvestre Correia
Originally from Coimbra, Portugal, and based in Sheffield, UK, Silvestre is a performer and
theatre and film director whose work is born from a flow of thoughts that are united into
something that goes beyond definition.
It’s about exposing a something that cannot be fully explained, something disturbing yet
playful that lives and breathes in the Abstract.
Your project has entered in our festival. What is your project about?
I SEE RED. is deeply personal. I like to refer to it as a macabre perception of femininity by
my own troubled imagination, not only as a performer, a theatre director and a newly born
film director, but also as a trans man who, like others, has faced troubles regarding his
own physical and mental health.
In this 17 minute long semi-biographical absurdist horror fiction, Wendy, our protagonist,
wanders in fear. Her sight purposely obfuscated by pink as she desperately clings on to a
reality where she does not belong. Her fears lie in the colour red, the colour of danger but
also, let’s not forget, desire. Red is in fact the desired reality, pink the veil that separates
the individual, Wendy, from her true purpose.
What are your ambitions with your project?
I wish for I SEE RED. to open the possibility for other projects to emerge. I don’t want this
film to be my first and last and I can’t help but be brilliantly excited for the future.
Tell us something about your shooting? What pleasantly surprised you?
This film had very little means. It was shot on my mobile, in my kitchen/living room, the
lenses facing a green screen where the actresses stood. This came with a lot of issues
that could have resulted in it never working. But it did work. I SEE RED. was born and I’m
definitely pleased with it. I’m very proud of what myself and my team have accomplished.
For what group of spectators is your film targeted?
I would like to believe it will enthusiast enthusiasts. And by enthusiasts, I mean anyone
who loves cinema, theatre, music, photography, dance, painting, any art form. It’s a film
directed by someone who truly enjoys the artistic objects that surrounds us and wishes to
share that enthusiasm with others.
Why should distributors buy your film?
I SEE RED. exposes, in a very particular way, a trans man’s experience of gender. There’s
no denying gender identity plays a huge role in people’s lives and that there’s a lot of
misconceptions regarding the subject floating about. Clarification is needed nowadays. I
SEE RED. is a film that goes beyond its meaning however, it’s more than just an exposure
of a subject, a teaching tool, it’s an object deserving of appreciation as well and I do
believe it’s worthy of being seen.
How would you specify your work? What characterises your film?
There’s no denying the visual aspect of this film stands out. And, by visual, I mean the
overall aesthetic that has been constructed for it to reach its highest potential. It’s a
peculiar film. Might not be the easiest film to grasp when it comes to its meaning but it is
there, it just plays a different part than usual.
Why did you decided to become a filmmaker?
I’ve been working in the theatre and visual arts performance scene for almost 10 years
now and have been wishing to make a change for a while. Getting into filmmaking was
bound to happen. Specially because I have always particularly enjoyed playing with
different artistic elements in my performances, cinema included. I would say it was an
unavoidable outcome really.
Who is your role model?
My father without a doubt. Witnessing what he has accomplished in his years as an artist
as led me to aim for the same. I don’t wish for stardom, I just wish to keep going, to be
able to live a stable life as an art maker, that being in performance or cinema. And he has
that. It’s nice. It’s dream-like really.
Which movies are your favourites? Why?
Two very distinct but equally peculiar films, Eraserhead’ by David Lynch and ‘Film’ by
Samuel Beckett.
‘Eraserhead’ due to the fact it exposes artistic freedom in a very comforting way. The film
itself is not a comfortable watch yes but it is comforting to see such a type of outcome
being appreciated and given a chance. It’s such a great film as well, for various reasons.
‘Film’ is just one more work of brilliance by Samuel Beckett. Buster Keaton as this god like
creature whose own reflection is too much for him to witness and so he avoids it, exterior
eyes as well. He does not wish to be seen. A very simple but strange and, no doubt,
effective film.
Where do you look for inspiration for your films?
From other’s work. I don’t copy but I do love to observe, take hold of others’ imaginary,
toss it aside and develop my own, creating something new from the scraps.
Which topics interest you the most?
Many things really. It’s tough to make a choice when you’re planning to create something
new. I SEE RED.’s theme just felt right for when it came about, for the point I was (and still
am) in life.
What do you consider your greatest achievement in your career?
Starting out, the very beginning, the making of that first step to put my work out there.
Never regretted it, it has unlocked so many doors, has made life a little brighter and I’m
fortunate enough to say that, since then, after the creation of my first piece, a video
performance object, I have accomplished many things throughout my career.
What I’m looking towards now is just for I SEE RED. to be shared, to be screened and
seen by others. This would bring me great joy.
What do you consider most important about filming?
Respect over your team members’ hard work. I don’t see myself as the mastermind of this
film. Without a doubt, without a team, there would be no film. Each element should be
appreciated and taken care of.
Which film technique of shooting do you consider the best?
There’s no better techniques in my opinion. Only ones that fit your vision and ones that
don’t.
How would you rate/What is your opinion about current filmmaking?
It’s too well behaved I think, too proper. And I’m not just talking about subject of choice or
plot, I’m talking overall. I wish I saw more people taking risks. Trying to shake things up a
bit, bring new things to table but I don’t and it’s saddening.
What can disappoint you in a movie?
When the lack of thrill from the filmmaker’s part is obscenely apparent. I enjoy watching
films made from minds of enthusiasts, true cinema lovers.
Who supports you in your film career?
I have a very supportive group surrounding me. I’m very lucky in that department. I have
my friends, family and, of course, my partner to thank for all I’ve achieved so far.
What are the reactions to your film? (opinion of spectators, film critics, friends
and family)
I have been pleasantly surprised on how well it has been received by all. I think I’ve
managed to shock people in the best sense of the word. It’s mad.
Have you already visited any of the prestigious film festivals?
No. Wishful thinking that for now. We’ll see what the future holds.
What are your future plans in filmmaking career?
Me and I SEE RED.’s screenwriter, George Murphy, have been cooking up a new project.
We’re re-thinking and moulding Oscar Wilde’s Salome to fit both of our troubled minds.
We’re aiming for a feature film this time. It’s scary creating something of that size but so
thrilling at the same time.
Learn more about Silvestre Correia at www.silvestrecorreia.com
theatre and film director whose work is born from a flow of thoughts that are united into
something that goes beyond definition.
It’s about exposing a something that cannot be fully explained, something disturbing yet
playful that lives and breathes in the Abstract.
Your project has entered in our festival. What is your project about?
I SEE RED. is deeply personal. I like to refer to it as a macabre perception of femininity by
my own troubled imagination, not only as a performer, a theatre director and a newly born
film director, but also as a trans man who, like others, has faced troubles regarding his
own physical and mental health.
In this 17 minute long semi-biographical absurdist horror fiction, Wendy, our protagonist,
wanders in fear. Her sight purposely obfuscated by pink as she desperately clings on to a
reality where she does not belong. Her fears lie in the colour red, the colour of danger but
also, let’s not forget, desire. Red is in fact the desired reality, pink the veil that separates
the individual, Wendy, from her true purpose.
What are your ambitions with your project?
I wish for I SEE RED. to open the possibility for other projects to emerge. I don’t want this
film to be my first and last and I can’t help but be brilliantly excited for the future.
Tell us something about your shooting? What pleasantly surprised you?
This film had very little means. It was shot on my mobile, in my kitchen/living room, the
lenses facing a green screen where the actresses stood. This came with a lot of issues
that could have resulted in it never working. But it did work. I SEE RED. was born and I’m
definitely pleased with it. I’m very proud of what myself and my team have accomplished.
For what group of spectators is your film targeted?
I would like to believe it will enthusiast enthusiasts. And by enthusiasts, I mean anyone
who loves cinema, theatre, music, photography, dance, painting, any art form. It’s a film
directed by someone who truly enjoys the artistic objects that surrounds us and wishes to
share that enthusiasm with others.
Why should distributors buy your film?
I SEE RED. exposes, in a very particular way, a trans man’s experience of gender. There’s
no denying gender identity plays a huge role in people’s lives and that there’s a lot of
misconceptions regarding the subject floating about. Clarification is needed nowadays. I
SEE RED. is a film that goes beyond its meaning however, it’s more than just an exposure
of a subject, a teaching tool, it’s an object deserving of appreciation as well and I do
believe it’s worthy of being seen.
How would you specify your work? What characterises your film?
There’s no denying the visual aspect of this film stands out. And, by visual, I mean the
overall aesthetic that has been constructed for it to reach its highest potential. It’s a
peculiar film. Might not be the easiest film to grasp when it comes to its meaning but it is
there, it just plays a different part than usual.
Why did you decided to become a filmmaker?
I’ve been working in the theatre and visual arts performance scene for almost 10 years
now and have been wishing to make a change for a while. Getting into filmmaking was
bound to happen. Specially because I have always particularly enjoyed playing with
different artistic elements in my performances, cinema included. I would say it was an
unavoidable outcome really.
Who is your role model?
My father without a doubt. Witnessing what he has accomplished in his years as an artist
as led me to aim for the same. I don’t wish for stardom, I just wish to keep going, to be
able to live a stable life as an art maker, that being in performance or cinema. And he has
that. It’s nice. It’s dream-like really.
Which movies are your favourites? Why?
Two very distinct but equally peculiar films, Eraserhead’ by David Lynch and ‘Film’ by
Samuel Beckett.
‘Eraserhead’ due to the fact it exposes artistic freedom in a very comforting way. The film
itself is not a comfortable watch yes but it is comforting to see such a type of outcome
being appreciated and given a chance. It’s such a great film as well, for various reasons.
‘Film’ is just one more work of brilliance by Samuel Beckett. Buster Keaton as this god like
creature whose own reflection is too much for him to witness and so he avoids it, exterior
eyes as well. He does not wish to be seen. A very simple but strange and, no doubt,
effective film.
Where do you look for inspiration for your films?
From other’s work. I don’t copy but I do love to observe, take hold of others’ imaginary,
toss it aside and develop my own, creating something new from the scraps.
Which topics interest you the most?
Many things really. It’s tough to make a choice when you’re planning to create something
new. I SEE RED.’s theme just felt right for when it came about, for the point I was (and still
am) in life.
What do you consider your greatest achievement in your career?
Starting out, the very beginning, the making of that first step to put my work out there.
Never regretted it, it has unlocked so many doors, has made life a little brighter and I’m
fortunate enough to say that, since then, after the creation of my first piece, a video
performance object, I have accomplished many things throughout my career.
What I’m looking towards now is just for I SEE RED. to be shared, to be screened and
seen by others. This would bring me great joy.
What do you consider most important about filming?
Respect over your team members’ hard work. I don’t see myself as the mastermind of this
film. Without a doubt, without a team, there would be no film. Each element should be
appreciated and taken care of.
Which film technique of shooting do you consider the best?
There’s no better techniques in my opinion. Only ones that fit your vision and ones that
don’t.
How would you rate/What is your opinion about current filmmaking?
It’s too well behaved I think, too proper. And I’m not just talking about subject of choice or
plot, I’m talking overall. I wish I saw more people taking risks. Trying to shake things up a
bit, bring new things to table but I don’t and it’s saddening.
What can disappoint you in a movie?
When the lack of thrill from the filmmaker’s part is obscenely apparent. I enjoy watching
films made from minds of enthusiasts, true cinema lovers.
Who supports you in your film career?
I have a very supportive group surrounding me. I’m very lucky in that department. I have
my friends, family and, of course, my partner to thank for all I’ve achieved so far.
What are the reactions to your film? (opinion of spectators, film critics, friends
and family)
I have been pleasantly surprised on how well it has been received by all. I think I’ve
managed to shock people in the best sense of the word. It’s mad.
Have you already visited any of the prestigious film festivals?
No. Wishful thinking that for now. We’ll see what the future holds.
What are your future plans in filmmaking career?
Me and I SEE RED.’s screenwriter, George Murphy, have been cooking up a new project.
We’re re-thinking and moulding Oscar Wilde’s Salome to fit both of our troubled minds.
We’re aiming for a feature film this time. It’s scary creating something of that size but so
thrilling at the same time.
Learn more about Silvestre Correia at www.silvestrecorreia.com