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Clandestina Review: Artists Battling Fascism in 1950s and Today’s Portugal
Anchored by the personal writings of 20th-century Portuguese revolutionary Margarida Tengarrinha, Maria Mire’s feature debut attempts to create a bridge between the history, the present and the future of political activism in Portugal. Told through voiceover, Tengarrinha’s extraordinary experiences describe an engaging relationship between crafts and activism. Along with her fellow members of the then-banned Communist party, she was forced into a clandestine existence for much of the 1950s. Out of a humble flat in Lisbon, Tengarrinha and her partner José Dias Coelho operated a secret forgery studio. Having studied art, both used their finely tuned skills to produce fake passports for their persecuted comrades on the run.
As the past is resurrected on a sonic level, Mire brings an intriguingly anachronistic approach to the visuals, which imagine the modern-day counterparts of Tengarrinha and her associates. When the voiceover speaks of employing lithography or engraving techniques, on screen we see young people working with laptops, smartphones and digital cameras. The film occasionally takes an even bigger experimental leap with stop-motion interludes that centre on 3D-imaging of different objects – a compass, a circuit board and more – which are seen floating against a cosmic background.
As with the rest of the film, these abstract sequences describe a lineage of political dissent, even if these modern-day reenactments stray on the side of simple decorativeness. Tengarrinha’s historical accounts are grounded in specific antifascist struggles, but the visuals are unmoored with few indications to what contemporary activists in Portugal are organising against. As a result, the onscreen activists are strangely entombed in abstraction, like rebels without a cause.
• Clandestina is at the ICA, London, from 23 August.
Maria Mire’s feature debut takes inspiration from the personal writings of 20th-century Portuguese revolutionary Margarida Tengarrinha. The film creates a bridge between the history, present, and future of political activism in Portugal. Using voiceover narration, Tengarrinha’s extraordinary experiences highlight the connection between crafts and activism. In the 1950s, Tengarrinha and her comrades, members of the then-banned Communist Party, were forced into clandestine lives. Operating from a modest apartment in Lisbon, Tengarrinha and her partner, José Dias Coelho, ran a secret forgery studio. Both had studied art, and they utilized their skills to create fake passports for their fellow persecuted comrades.
To bring Tengarrinha’s past to life, Mire uses a blend of visual techniques that merge historical and contemporary settings. While the voiceover discusses traditional methods like lithography and engraving, the visuals show young people using modern gadgets such as laptops, smartphones, and digital cameras. The film includes stop-motion sequences featuring 3D images of various objects like a compass and a circuit board, floating against a cosmic backdrop. These abstract scenes aim to demonstrate the lineage of political dissent through the years, though they might seem more decorative than functional at times.
Despite the historical weight of Tengarrinha’s accounts, the film’s modern-day portrayals of activism lack a clear context. The visuals do not provide enough clues about what today’s activists in Portugal are fighting against. As a result, these modern portrayals appear somewhat abstract, disconnected from a specific cause.
Clandestina is available at the ICA in London from 23 August.
Source: The Guardian
