Abstract

The scenarios and décors of the cinematographic work of João César Monteiro are a fundamental dimension of the story, they are the spirit of the themes and the foyer of dramatic situations.
Oscillating between the natural scenery, mostly, and the religiously constructed sets, the space reveals itself as an integral part of the myths that guide cesarean cinema: if the myth of intimacy invites us to the interior, to the inside of the house, to a female home, attracted by its centers - the fireplace, the dining table and the bedroom, the hermetic myth takes us abroad, towards paths to travel, on a journey of death and rebirth.