I Only Rest in the Storm: Enchanting Post-Colonial Blues in Guinea-Bissau.
Within Pedro Pinho's latest film, a Portuguese environmental engineer called Sérgio finds himself in Guinea-Bissau, facing the intricate power structures of a postcolonial context. A sex worker tells him, "What disgusts me the most are virtuous men," a remark that cuts to the heart of the story's central inquiry into western paternalism and hypocrisy.
An Instrument for Listening In
Sérgio's uncommitted position makes him the ideal witness of postcolonial relations. The narrative revolves around a debated development initiative, with locals divided over whether it represents economic progress or an ecological disaster. These debates are amplified by the presence of destitution, graft, and violence, referenced by the strange case of Sérgio's forerunner.
"Scruples are a luxury," market hustler Diara reminds Sérgio, emphasizing the pragmatic choices that define life in a complex socio-economic landscape.
Shifting Identities and Personal Politics
His encounters involve a gender-fluid posse centered around a local bar, a microcosm presented as a welcoming community. Yet, his dalliances is seen as reflecting a deeper detached attitude to life and his role within these social spheres. He lives on the periphery, belonging to neither one.
This cinematic work's lengthy, dialogue-driven scenes may lack the visual concision of some contemporaries, but they create a organic and profoundly human feeling. Through these meandering discussions, Pinho examines not just the situation, but also the filmmaker's own involvement as an outsider.
A Jarring Ending
The film repeatedly searches for its own position on weighty political questions. This search finds expression in a final encounter where Sérgio finds himself positioned in the middle, symbolizing his ongoing condition of indecision. Regardless of this ambiguity, the film's core message stands firm: private life is always a matter of politics.