Fabricio Estevam Mira is a Brazilian screenwriter, actor and self-taught director born in the city of Campos dos Goytacazes. His first works in video, for attacking the local authorities, forced him to leave the state of Rio De Janeiro for fear of reprisals. His latest work, the short film No More, has won several awards worldwide with a Jesus in total conflict with humanity, with his father, and with himself.

IMDb - https://www.imdb.com/name/nm13416546/
Instagram - https://www.instagram.com/filmenaomais/

1. Your project has entered in our festival. What is your project about?
About a Christ tired of humanity, of having to save it more and more against his will and with doubts about everything. Mainly about the motivations of his Father. About the evil and greed of humanity and how it will remain dirty even after being bathed many times in the blood of his lambs.

2. What are your ambitions with your project?
My first ambition is to reach with my film people who can understand what it is really about. To make a smoke signal that even from a great distance can be seen by someone from my tribe. My second and more practical ambition is to show that with minimal resources I can create something unique, meaningful and relevant.

3. For what group of spectators is your film targeted?
Ideally for people over 25, with a good background in religious studies and with minimal prejudices. Also for people over 25 and who like non mainstream horror and drama.

4. How would you specify your work?What characterizes your film?
Intense script with raw acting and minimal post production.

5. Why did you decided to become a filmmaker?
I don't consider myself a filmmaker any more than I consider myself a painter. I make films because so far that is where I find more possibilities to express myself. If I find something more complete maybe I will leave the cinema immediately.

6. Who is your role model?
I discovered Rimbaud, and more specifically this text, while still in school. I believe that this defines well what it is to be an Artist.
“A poet makes himself a visionary through a long, boundless, and systematized disorganization of all the senses. All forms of love, of suffering, of madness; he searches himself, he exhausts within himself all poisons, and preserves their quintessences. Unspeakable torment, where he will need the greatest faith, a superhuman strength, where he becomes all men the great invalid, the great criminal, the great accursed--and the Supreme Scientist! For he attains the unknown! Because he has cultivated his soul, already rich, more than anyone! He attains the unknown, and if, demented, he finally loses the understanding of his visions, he will at least have seen them! So what if he is destroyed in his ecstatic flight through things unheard of, unnameable: other horrible workers will come; they will begin at the horizons where the first one has fallen!”
That's it.

7. Which movies are your favorites? Why?
I will put the ones that first come to mind because there are so many:
These to me are icons. They are primal forces of cinema.
Dr. Mabuse the Gambler. The Cabinet of Dr. Caligari. Metropolis. Faust (1926). The Golem. Nosferatu. A Page Of Madness. The General. The Passion Of Joan Of Arc(Dreyer). The Phantom Carriage. A Trip to the Moon(and just about everything Méliès did). Battleship Potemkin. Tartuffe.
There are many others that I consider as favorites. Even some recent ones. Darren Aronofsky comes up strongly. But at the top of the pyramid I must put Blade Runner. The details. The atmosphere. The cinematography. The soundtrack. The cast. The script. With Blade Runner Ridley Scott became a god.
Ah... And Tarkovsky. Always.

8. Where do you look for inspiration for your films?
I don't exactly have inspirations, I have a discomfort that becomes so great that only through cinema can I deal with it. In No More I bring out everything I feel about the religious hypocrisy that I see and hear in every corner in the city where I live. In the country where I live. In the streets. On public transportation. On the almost mandatory TV screens in bars, restaurants and offices. And I know that this hypocrisy is human and not a regional privilege. All I can do is isolate myself because after a while words have the weight of stones. Cinema for me is an escape. It is a church and should be treated as sacred.

9. What do you consider most important about filming?
Bring the right emotions to your target audience. This, to me, is the basis of cinema. This emotional communication. This intimate contact between strangers who will probably never meet in person.

10. Which film technique of shooting do you consider the best?
It depends. But I believe that the most important thing is that you know what kind of emotional effect you want from each scene. With that in mind the rest is a matter of adapting to the circumstances. And keep the process as organic as possible. A plastered idea usually rots.

11. How would you rate/What is your opinion about current filmmaking?
I believe we are going through a very strong period of creative decline. Scripts are increasingly taking a back seat as technique and equipment run the show. There is an aura of fear about speaking the wrong line. Everywhere they shout about freedoms but every day they shackle themselves with more panic and paranoia. Cinema is increasingly anemic. In my opinion you get material to tell when you leave the comfort zone of life, the film schools, the circles of friends who applaud everything you say, and throw yourself into the world. When you walk in the mud your legs get stronger.

12. What can disappoint you in a movie?
A cowardly script because a cowardly script will be a box of repetitions covered with frosting. And since the script is the backbone and DNA of a film, everything else will be scented with fear.

13. What are the reactions to your film? (opinion of spectators, film critics, friends and family)
The first people to see my film were some of the cast members. I arranged for them to come to my apartment to watch it on my projector with the sound box of my first assistant director. On this day I had just uploaded the film to FilmFreeWay after editing it in a part that was not very good. When the screening started I thought the audio was a little louder than it should be and the audience was excited. In a short period of time, the audio was overdriven. Exploding. I had made a mistake when I re-edited the film. In my mind I was screaming about the fact that the film had this absurd problem and was available to all the judges of the festivals I entered No More in. The audio seemed to be even louder and I also started thinking about how my upstairs and downstairs neighbors must be suffering. The audience's faces had also changed. EVERYONE looked very uncomfortable. When the projection ended came the silence. Not even a jackhammer seemed to be able to scratch that vacuum. I actually considered the chance that someone might stand up and spit at me. After a fraction of an infinity one of the actresses let out a little applause. And that was all. They just wanted to leave and I wanted them to leave as soon as possible so that I could correct the audio of the film and re-send it to the platform. When everyone left I ran to fix the problem and uploaded the file hoping that no one had watched it. I went to take a shower. Then I had a cigarette and lay down on the bed. Almost immediately I received the message that my film had been selected for the Rome Prisma Film Awards in Italy. A memorable night. In the following days came the announcements of other selections and awards. In Italy, France, and the United States. Then another member of the team, musician Victor DZ, who had not yet seen the film, wanted to watch it. I was curious about how he would react. Of the whole team, Victor was the only one with a deeper spiritual/religious background. He did not belong to any specific religion and lived in an intense search for meaning. I turned on the projector for him and went to prepare something in the kitchen. When I returned Victor was visibly living the movie. His reactions seemed like a map of his feelings and these feelings reflected my intentions with the film. When the film ended he was impacted. Not impacted wanting to strangle me. He had really enjoyed it. Thrilled. We talked about the film and I felt what I was looking for. The connection. That understanding. The film continued to do very well in the festivals and the reactions varied a lot. Apparently the target audience has been understanding the message.

14. Which topics interest you the most?
Anyone who somehow points a way out. Art. Technology. Religions. Death.

15.  What do you consider your greatest achievement in your career?
No More. With minimal resources. With cheap cell phones. With material collected from the city dumps, but without at any moment compromising the initial idea by selling me for crumbs. And surviving the process without destroying my health was a wonderful bonus.

16. Have you already visited any of the prestigious film festivals?
No chance. I can't afford to leave Brazil that easily.

17.  Who supports you in your film career?

18. Tell us somethng about your shooting? What pleasantly surprised you?
IIn over a year of recording, wonderful and chaotic things have happened. I spent nights and days in an almost wallless hovel outside the city, covered by a shredded camping tent while trying to maintain my few belongings dry from the rain that was lashing the region. After the rain, the stars and the moon illuminated seas of sugar canes to the sound of frogs and oxen and crickets and wind. Inside my tent the music of Tricky on my cell phone. His entire discography. I have never felt so hungry. Never has the smell of what can be eaten been so strong. I was a slave. I was the most free man in the world.

19. What are your future plans in filmmaking carriere?
Making two feature films before working on the script for what I hope will be my last film work: A feature film that will be the conclusion of No More.