{"id":734,"date":"2025-07-07T19:19:48","date_gmt":"2025-07-07T22:19:48","guid":{"rendered":"https:\/\/ghfilme.com\/sem-categoria\/iffr-rotterdam-2024-the-passion-according-to-g-h-by-luiz-fernando-carvalho\/"},"modified":"2025-07-07T22:02:35","modified_gmt":"2025-07-08T01:02:35","slug":"iffr-rotterdam-2024-the-passion-according-to-g-h-by-luiz-fernando-carvalho","status":"publish","type":"post","link":"https:\/\/ghfilme.com\/en\/critical-fortune\/iffr-rotterdam-2024-the-passion-according-to-g-h-by-luiz-fernando-carvalho\/","title":{"rendered":"IFFR ROTTERDAM 2024: The Passion according to G.H. by Luiz Fernando Carvalho"},"content":{"rendered":"\n<p>This is not the first time that Luiz Fernando Carvalho has tackled a work that needs to be adapted for the screen. With his first feature film, \u201cTo the Left of the Father\u201d (Lavoura Arcaica, 2001), the Brazilian filmmaker recreated the universe of writer Raduan Nassar\u2019s first novel, preserving the intent, a key element when it comes to dealing with the freedom of licenses in storylines, and the \u201cplausible and believable\u201d in cinematic passages. However, this time, faced with a story from a different nature, the director takes on an existential work by Clarice Lispector, <em>\u201cThe Passion According to G.H.\u201d<\/em>, to subvert it within the most problematic cinematic imagination: the structure of the male gaze, or rather, the male gaze\u2019s reminiscence of a fascinating subject\/object, which has been the subject of hundreds of films throughout cinema history: the representation of women\u2019s catharsis, anguish, pain, and hysteria.<br\/><br\/>The title of Lispector\u2019s work, which the filmmaker chose to maintain, effectively speaks of passion understood as suffering, torment, rapture, and frenzy. The plot of Lispector\u2019s book, published in 1964, and therefore of Carvalho\u2019s work, is sustained by G.H.\u2019s death drive\u2014a sophisticated, upper-class woman who unravels after dismissing the only domestic worker she had, an Afro-descendant woman.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is not the first time that Luiz Fernando Carvalho has tackled a work that needs to be adapted for the screen. With his first feature film, \u201cTo the Left of the Father\u201d (Lavoura Arcaica, 2001), the Brazilian filmmaker recreated the universe of writer Raduan Nassar\u2019s first novel, preserving the intent, a key element when [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_wp_rev_ctl_limit":""},"categories":[22],"tags":[],"class_list":["post-734","post","type-post","status-publish","format-standard","hentry","category-critical-fortune"],"acf":[],"_links":{"self":[{"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/posts\/734","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/comments?post=734"}],"version-history":[{"count":0,"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/posts\/734\/revisions"}],"wp:attachment":[{"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/media?parent=734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/categories?post=734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ghfilme.com\/en\/wp-json\/wp\/v2\/tags?post=734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}