In 2011, visual artist Olafur Eliasson (Inhotim, Serpentine Pavillion) conducted a series of installations in São Paulo. From the invitation to the pleasure of looking and the exploration of perception and sensorial processes in Eliasson works, filmmaker Karim Aïnouz (Madame Satã, Futuro Beach) built a unique poetic record. Shooting over Sundays, he strolled his camera through the interventions, drawing visual observations, sometimes heartfelt, sometimes critical, between rediscovering the joy of looking to the city as proposed by Eliasson, and life and leisure in the spaces of São Paulo.
Karim Ainouz
Nasceu em Fortaleza. Graduou-se em arquitetura pela UnB e cinema pela NYU. Estreou na direção de longas com Madame Satã (2002), exibido na mostra Um Certo Olhar de Cannes. Seguiram-se O céu de Suely (2006), melhor filme no Festival do Rio, Viajo porque preciso, volto porque te amo (2010), codirigido com Marcelo Gomes, O abismo prateado (2011), exibido em Cannes, e Praia do Futuro (2014), selecionado para a competição de Berlim.
