FLMTQ: Francisca's character is equally aligned with a borrowed source, a song by Caetano Veloso. The words of the song help us understand the restlessness that Francisca is passing through. Why did you seek to evoke Francisca's experience this way?
MR: In fact, Francisca goes looking for a Caetano record and ends up finding a song by Jards Macalé, called "Soluços." It's an epiphanic song that has this mix of sorrow, love and mockery. It's a genuine scorned-lover song, but with a real dose of humor. The encounter between these two characters has a unique capacity to flit from fight to joke and back again.
FLMTQ: Teresa's decision to settle in "the kingdom of uncertainties" results in the film's open ending. Can you discuss your decision to close the film in this manner, and the importance of ambiguity in your approach to filmmaking?
MR: In the letter Teresa reads, we hear that "it becomes hard to explain things when liberty installs in us its kingdom of uncertainties." The film seeks to express precisely the difficult and sometimes contradictory feelings of someone who is leaping into the unknown, but whose heart is divided between possibilities and apprehensions— between a longing for the comfort of knowing, and a desire for the new. The ending was a way of tapping into that. The ambiguity of the feelings we carry in our hearts.
FLMTQ: Are you working on any new projects and, if so, can you tell us a bit about them?
MR: I'm working on a documentary series on the relationship between literature and the space in which it was created. The first season is shot in Rio de Janeiro, the city that once had Brazil's highest concentration of Brazilian writers and poets, and whose works evoke particular places. Today, those places are absolutely banal and bear no apparent resemblance to those depicted in their works, and certainly no trace of the poets. I'm looking for a possible intersection between the past and the present, literature and life. It's a sort of archeology of the urban landscape.