Leonor Teles, a first-time contender at the Locarno Film Festival, explores the concepts of home and love in her sophomore feature 'Baan'. The film reimagines the world of a person torn between these two places, using jump cuts, musical transitions, and fiction to bring an interior world to life. Totem Films is handling the film's world sales.
In her acclaimed documentary debut, “Ashore”, Teles anchored herself in a physical space — her hometown Vila Franca de Xira, just outside of Lisbon. Now, for her sophomore feature, she uses jump cuts, musical transitions, and fiction to bring an interior world to the big screen.
“Baan” found its beginning in a certain feeling of homelessness, of interrogating what home is for young people today. The answers were not easy to digest. “Sometimes we need to run away to come back. Sometimes we need to find someone to feel at home,” says Teles. This state of placelessness, to yearn for belonging in times where everything is in flux, finds a representation in “Baan.
The curiosity of a rising star is showcased in Teles ever-changing aesthetic. In only two features and three short films, including the 2016 Berlinale short film Golden Bear winner “Batrachian’s Ballad,” this zigzag between different pace and rhythms encapsulates the director’s artistic sensibility.
She is open about the influence of the documentary part of our lives in the way “Baan” borrowed from reality. The fact that Lall is half-Thai ultimately led the director to choose Bangkok as a counterpart to the Portuguese capital. In addition, Miragaia, as a musician, could set her character’s pace tuned to singing and songwriting. By picking up the guitar and making a demo, L works through her sorrow in a way we all can relate to. In the words of Teles, that’s how this film was born as well.
“Baan” shows the world through the eyes of a woman first in the blossoming of her love, and then in the struggle of solitude. In the end, the lesson is endurance. “At a certain age, almost everyone has experienced a broken heart and survived,” Teles concludes. “We all go through that. L. and K. are both survivors. At the end of the day, that’s the thing: the growing process is to accept that truth.
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