The video Merina (2013) is a continuation of the structural mechanism used in O outro lado do espectáculo and in H.Q.S.C.L.M.S., whose model is focused on sound narratives. In the aforementioned videos, the narratives are short and fluid, unlike Merina, whose composition is made up of several fragments of narratives wandering and dispersed in space and time. This work will explore, in more depth, the sound narratives. These reside on a fictional and factual plane at the same time. Both Love Story and The Invasion of the Martians, narratives that are part of the Merina video, are based on real facts. In fact, they question the boundary between real and fiction, sacred and profane.

The videographic piece Merina has a duration of approximately six minutes and is made from an analogue photograph. It is a found photograph, transferred to an artistic context. Its context has become fictional, integrating various narratives. The video begins with a static black image. After a few seconds a frame of a courtyard surrounded by houses and trees, with a parked car in the foreground, accompanied by the voiceover, is presented. The image begins to gain temporal density, due to the narrator's voice and the appearance of three new elements: the window, the female figure itself and the second car parked next to the tree. These elements, acting symbolically as three inflorescences, grow very subtly in the image with different durations each.

Filipa Almeida, 2013

Merina, 2013
HD video (colour, sound 6’30’’)
Sound Design by Filipa Almeida