C& América Latina: Your films Caixa D´Água: Qui-lombo é esse? and Conflitos e Abismos: A expressão da condição humana feature the use of hybrid languages. What is it like working in this boundary between video art and documentary?
Everlane Moraes: I really like working in this tenuous and very diffuse boundary between reality and fiction. Fiction enters the documentary without taking away the truth of the information. A work of fiction can be made within a documentary to reframe, to represent a truth. This dispute between what is real and what is fabricated to create an illusion of reality will always be there, permeating every work of art. I like using hybrid forms, because I come from the visual arts, with my degree in Visual Arts from the University of Sergipe. And my childhood was permeated by art. My father has been an artist since 1968; his work is very expressive. Since there was already a demand to curate his work, keeping a close eye and researching, I had increasingly given up making my own artwork and, at the same, began connecting more with filmmaking. I was falling in love with filmmaking and I saw such great interdisciplinary possibilities in it, that I could even work on the visual arts within filmmaking, as a concept, an aesthetic, ethics, politics, through forms. And I saw that filmmaking gave me the latitude to stretch my work further, to escape the two-dimensionality of the fine arts and move into the three-dimensionality within the cinematic space. So I was very excited about it. That’s where my hybridity comes from: both from the influence of the fine arts as well as other arts, and from my fascination with film as an interdisciplinary space, in which I can work with all these art forms.