Memory— both collective and personal— is also an essential thread explored in Teia productions. In their short, Trecho, Campolina and Marins Jr. explore the journey of a man named Libério, who in 1996 walked from Belo Horizonte to Recife, in the northeast state of Pernambuco. The memories of the character are transformed by the passage of time, by the landscape, and the experience of the film itself.
In that regard, the remarkable short O Porto, which premiered in several international festivals, utilizes outstanding visuals and sound to chronicle the historical transformations of Rio de Janeiro's port— from an archeological site of the arrival of millions of slaves to a central space for carnival festivities, to an area of commerce, to a privileged place of gentrification on the verge of the 2016 Olympics.
O Porto subtly explores collective memory and amnesia. What does it mean to "beautify" a space where slave trade occurred in a sidereal scale? How to preserve the memory of that experience? Images are imprecise; blurry. They are superimposed, layered to convey the different landscapes and symbols of the port: a site of recreation, public celebration, exploitation. In that regard, all possible meanings imposed on a single space that is so symbolically significant evince a magical, hallucinatory, and obscure spirit.