In 2008, Cuenca receives the surprising news of his own death. In a strange turn, someone had stolen his name and died with it. Who is that person? The filmmaker embarks on a search where fiction and the thriller genre are offered on a tray.
It’s not that important that The Death of J.P. Cuenca settles for the referential, or that the episode about the director’s identity theft is more or less close to fact. The density of Cuenca’s cinema can be found at the very moment his eye decides to explore coordinates in which fact and fiction seem to mix, but that is only the kick-off point from where to reach zones where the unresolved is the norm, where the drift of a mischievous thriller stumbles upon the rigor of the documentary-style close shot, where it’s possible to put hilarity and suspense under tension. And if the unhinged capturing of the Lapa neighborhood in Rio de Janeiro is perceived as though it were a supplementary character, it is due to the capability the film has of asking itself not only for the mutations in the character’s identity, but also for those of the city and film itself. EDB
D, G: J. P. Cuenca F: Pedro Urano E, PE: Marina Meliande DA: Mariana Jannuzzi S: Bernardo Uzeda M: Daniel Limaverde P: Marina Meliande, Felipe Bragança CP: Duas Mariola Filmes I: João Paulo Cuenca, Ana Flavia Cavalcanti, Paulo Roberto Pires, Geraldo Margela, Ivo Raposo
Duas Mariola Filmes. Marina Meliande T +55 11 948 965 714 E firstname.lastname@example.org W duasmariola.com.br ~ amortede.jpcuenca.com
He was born in Rio de Janeiro, Brazil, in 1978. He wrote four novels and an anthology of short stories. His books have been translated into eight languages. The Death of J.P. Cuenca is his directorial debut.