We were supposed to create a trailer for the Frida movie. We decided to take it
to a new level and explore critically the film and her life. Nobody’s life is a rational line or a succession
of events where each situation starts when another one finishes. The life of Frida
was done in layers as the painting and as the plaster that she used so many times.
The trailer was constructed in the same way, with the scenes occurring at the
same time and the music projected and edited to be played in reverse and in normal
way, emulating in a very lower degree the pain that she felt.
Frida’s painting were her self-biography. She did not paint anything that was
not related with her life. So, the movie is basically
a representation of the paintings, because the paintings were closer to the truth
or to the original Frida. Then, exploring and inverting these representations,
the trailer intentionally becomes a metanarrative of the conception of the film,
an ink trying to tell a story that is already told through the paintings. The
canvases are the selves-portrait of the Frida, the maximum expression of her self
representation and in the most honest affirmation possible, the trailer/movie
assumes it’s incapacity to tell a true history. Frida’s life is in the painting,
not in the film.
