![]() If you cannot pass through it emotionally, you are not able to break the egg.Ģ00%: Do you think the Brazilian experience has transformed Marina? It is a physical manifestation of a trauma. It turns out really hard for Marina to break the egg. Denise explains that the egg pushes out all the negativity or certain issues that you have. MF: Yes, this is the craziness about spirituality. The first one goes quite easy but she struggles to break the second one – even with two hands. She rolls two eggs over Abramovic naked body and asks her to break them with her bare hands to ‘break’ her problems. She developed a technique for man to become in natural contact with his spirituality. You are entering someone’s life and you have to sense when you interact with your subject and when to leave them alone.Ģ00%: The egg scene with Denise Maia is quite memorable. This is the main thing that a documentary maker should know how to do. One of my favourite quotes in the documentary is when Mãe Filhinha, this 110 years old lady from Bahia, says: “One of the main things in life is that you must learn how to enter and how to leave places”. You have to enter the physical space of the rituals and the inner space of Marina. ![]() To make this kind of film you have to be generous and have complete dedication and trust in each other. I had to put myself in the movie, even though I am behind the camera. MF: To reach this level of intimacy with Marina you have to expose yourself. We included the exhibition in the film as the end of the journey.Ģ00%: Did you also go to a journey yourself in making this documentary? In the middle of the shooting the film producers suggested to Marina to do an exhibition, ‘Terra Comunal’, in March 2015 in São Paulo. Marina came back to Brazil to shoot the part in Curitiba. We shot the biggest part of the film in 40 days. Marco del Fiol: We started shooting at the end of 2012. Another gripping scene, but less extreme, is when she struggles to break an egg with her two bare hands.Īt the London Film Festival 200% spoke with Del Fiol on Abramovic’s spiritual quest.Ģ00%: How much time did you spend with Marina making the documentary? In a voice-over Abramovic describes the purgative effects of Ayahuasca resulting in uncontrollable vomiting, urinating and diarrhoea. In one shamanistic ceremony she nearly loses control over herself when she drinks Ayahuasca, an entheogenic brew used as a traditional spiritual medicine. The documentary has some arresting scenes. She reveals that she had two big loves in her life and the second one really broke her heart. Now, in this documentary, she is determined to deal with emotional pain. In her performances Abramovic dealt with excruciating physical pain. Their reunion seems like a life-flashes-before-your-eyes moment where they relive all the joyful and painful episodes in their lives. They walked the Great Wall of China each from one end to meet in the middle to break up. In 1988, they ended their 12 years work and love relationship with a riviting, epic last performance: ‘The Lovers: The Great Wall Walk’. Abramovic breaks into tears when an old acquaintance takes a seat in front of her. For her MoMA retrospective, during a period of three months, Abramovic shared a moment of silence with each stranger who sat in front of her. It features a moving reunion moment which has more than 25 million views on YouTube. In 2010, she became known to a wide audience with a heartbreaking scene in ‘The Artist Is Present’, a documentary on her life and work. These performances made her well known in the art world. Towards the end of the performance someone actually placed the gun to her head. On a table Abramovic placed 72 objects (including a loaded gun) and the audience was invited to use these objects to their wishes on her. In ‘Rhythm 0’, the most extreme in the series, she wanted to find out how far the public would go. In ‘Rhythm 5’ she lost consciousness when she was laying at the centre of a burning star and two audience members removed her from the flames as she nearly suffocated. In the 1970s Abramovic did a series of performances, ‘Rhythms’, that nearly cost her her life. In her search for personal healing she is as fearless as in her extreme performances. The documentary follows the Serbian Performance artist on a spiritual journey through Brazil. “I was really concerned that she was going to die”, says Marco Del Fiol, director of ‘The Space in Between: Marina Abramovic and Brazil’.
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