{"id":422,"date":"2026-01-15T17:58:34","date_gmt":"2026-01-15T17:58:34","guid":{"rendered":"https:\/\/maatproducoes.com.br\/?page_id=422"},"modified":"2026-01-23T22:16:42","modified_gmt":"2026-01-23T22:16:42","slug":"transatlanticas","status":"publish","type":"page","link":"https:\/\/maatproducoes.com.br\/en\/transatlanticas\/","title":{"rendered":"Atlantic Women"},"content":{"rendered":"
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/section>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Atlantic Women<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t

Hybrid feature film (doc\/fic) - 90 min <\/h2>\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Logline:<\/b> Two women drifting in the Atlantic Ocean.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\t\t\t\t\t

Sinopse:<\/b> Atlantic Women addresses the issue of the diasporic condition from a female perspective. Alternating between real scenes and fiction, we follow the saga of two characters: a Brazilian and a South African who decide to reflect on their trajectories and investigate the process of becoming aware of what it means to be a black woman in a mixed-race society.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Cartaz\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Texts on the screenwriting process:\u00a0<\/b><\/p>

Warning:<\/strong> this text, written in the form of a chronicle, does not aim to narrate facts about the creative process in chronological order. It consists more of an access to my fragmented memory, about facts that marked the process of writing my first feature film script, as a way of reflecting on the paths taken. I hope you enjoy this journey!<\/span><\/p>

I decided to write about the paths I took during the creative process of this film in order to share, build bridges, and create dialogue for reflection on the screenwriting process, a topic that is so intense and profound for me.\u00a0<\/span><\/p>

Another factor that made me share was imagining that, in some way, I could contribute to the creative processes of other screenwriters, since there are no formulas for creation.<\/span><\/p>

I find sharing enriching because it brings us insights, makes us realize mistakes and successes that we didn't notice before, and thus refine our work and grow stronger on this unique journey that is storytelling.\u00a0<\/span><\/p>

At the beginning of the process, being very Cartesian, I reflected a lot on writing methods and formats, not to follow them, but precisely to escape them. I think it is a common desire for those who write: to create unique stories that escape the norms of the audiovisual market. However, the more I reflected on the method, the more creative blocks arose.\u00a0\u00a0\u00a0<\/span><\/p>

In addition to often being stuck on the subject, with strong references to personal experiences, I was looking for a way, a device that would help me tell the story in an interesting way. Even though I was detached from formulas, I was unable not to follow them, since the need to communicate and be understood prevailed. I asked myself: will people understand this event as I perceive it? Am I being accurate in my approach? The search for answers was futile. Coupled with this was a huge crisis of insecurity, as a black woman who always loved writing but, like so many other black women, did not see herself as a screenwriter.\u00a0<\/span><\/p>

This marked my first journey into feature film screenwriting, guided entirely by empirical references, rooted in my own experiences and personal understanding. In other words, there was nothing based on Cartesian reason or Hollywood formulas, and that was a big challenge for me.<\/span><\/p>

For us black women, especially those of my generation who grew up without many black references, without racial literacy in an extremely racist country, taking a stand is an act that generates a lot of insecurities, even if they are not so apparent to others. It took a lot of therapy and self-love to overcome this sea of insecurities and continue weaving this story.\u00a0<\/span><\/p>

That\u2019s the reason why sharing is so important. By writing about this challenging process, I can lighten its weight, because many other people begin to carry it with me. Not to mention that sharing the experience helps other black women take other paths, with less rigidity towards themselves. And that also makes the experience lighter: thinking that I may be lightening the burden of another sister from the future, the past, or the present.\u00a0\u00a0<\/span><\/p>

I began researching and sketching out certain facts about my career.<\/span><\/p>

At the time, I was working in audiovisual production, in a sector so rigid and formal that I even forgot that, in a way, I was contributing to an artistic endeavor. I had a double life in the world of administration and executive production: my day was filled with spreadsheets, budgets, controls, payments, contracts, licenses, taxes, etc.\u00a0<\/span><\/p>

However, there were times when the directors (of the films I was working on) invited me to watch the first cut and give my opinion on the works. Those moments were magical.<\/span><\/p>

Gradually, I realized that I had a lot of technical expertise, thanks to my graduation in radio and TV at UFPE and a lifetime of watching movies and series.\u00a0<\/span><\/p>

My involvement with films beyond production was so great that once, on an editing island, I was asked to make my own film. I was with a dear friend, closely following the completion of a short film, as executive producer, and my friend looked at me deeply and asked, <\/span>\u201cDani, when are you going to direct your own movie?\u201d<\/span><\/i><\/p>

That question echoed in my mind for quite some time. Gradually, I realized that bureaucracy was no longer the right place for me. So I started writing my own project reflecting on cinema, the spaces we are granted in this audiovisual hierarchy, and that's how this project came about, in a very experimental way.\u00a0<\/span><\/p>

As I have always had a penchant for research and academia, the project seemed more like a scientific article than a creative proposal. To give you an idea, the title of this project was \u201cCorpus Infinitum: Experiment No. 1.\u201d Today, I see how contradictory this title is, divided between academic rigidity, which seeks to justify everything, and my search for a formula to express myself artistically, while the experiment allowed me to bring about some change and innovation.\u00a0<\/span><\/p>

As I went through my first creative workshop, the pieces began to fall into place: the evaluators asked for a lighter, simpler language, less academic, that would communicate with anyone who took the time to read the text. Then came the suggestion to change the title to \u201cOn this side of the Atlantic,\u201d since I was reflecting on the consequences of the African diaspora here in Brazil.\u00a0<\/span><\/p>

That title stayed with me for a long time, even though I didn't feel deeply that it was the ideal title. It's complex how we continue to follow things, people, projects, that don't touch us or fulfill us one hundred percent. It took me a long time to realize this reality, but I'm okay with it; I think that every work has its time to flourish, and that was the path mine took, until it arrived here, at the concept of \u201cTransatlantic,\u201d which perfectly defines the film's proposal to delve into the depths of two Black women who reflect on their trajectories and are separated by the same ocean that connects them: the Atlantic.\u00a0\u00a0<\/span><\/p>

I then wanted to seek the definition of this space, which is not only physical and separates, but at the same time brings these two women closer together.<\/span><\/p>

A. tl\u00e2n.ti.co: adjective relating to the Atlantic Ocean or the states bathed by it, that is, the Atlantic coasts.<\/span><\/p>

The reference to that ocean in the title of the work is because it has become the place of contact and circulation of people from the African, American, and European continents. The Atlantic is not only the place of contact between people, but also their baggage: their ideas, memories, values, traditions, languages, politics, cultures. All these characteristics of the peoples who transit under its waters are imprinted on it. The idea of the Atlantic, therefore, is directly linked to the diaspora of African peoples, since it was through this ocean that these peoples made (in)voluntary crossings.<\/span><\/p>

So I thought about how to connect these characters, who were already intuitively aligned in their reflections before the sea. In an exercise of letting go, they accessed emotional memories and reflected on them, questioning their place in the world, in a racialized society. These women wanted to define the black female<\/span> ethos, <\/span><\/i>they wanted to answer the question: what is it like to be a black woman in Recife, Brazil? Or what is it like to be a black woman in Cape Town, South Africa?<\/span><\/p>

Until then, reflections on the diaspora, especially in the audiovisual field, were made from the perspective of black men, but did not touch on women's issues of how to reconcile romantic and family relationships with artistic work. How to create a work of art while raising a child? How to create while belonging to a technical sector of the audiovisual field? This last question was so latent in my mind that I was overwhelmed by contractual obligations, taxes, fines, and deadlines for rendering accounts. It was\u2014and still is\u2014very costly to create under these conditions.\u00a0<\/span><\/p>

I felt so overwhelmed by the pressures of executive production that at the end of the day I was exhausted and had little motivation to research or write. Over time, I found encouragement in these moments of project development and managed to gather the strength to write from the heart, even when my mind and body were tired.\u00a0<\/span><\/p>

And so, with each step forward that the project took, I was Overjoyed, which made me feel that I was on the right track. This emotion began to guide me, to balance my time better, to dedicate myself more and more to the weaving of these projects, and thus, I obtained approval for a call for proposals for the development of a feature film script.\u00a0<\/span><\/p>

And so, with each step forward that the project took, I was Overjoyed, which made me feel that I was on the right track. This emotion began to guide me, to balance my time better, to dedicate myself more and more to the weaving of these projects, and thus, I obtained approval for a call for proposals for the development of a feature film script.\u00a0<\/span><\/p>

Dedicating time to writing and getting paid for it was a dream come true. So, I was able to do research, establish partnerships to read the texts and the project, connect with partner producers to develop it, find the ideal character on the other side of the Atlantic, and continue developing the story. And so, this project slowly but surely took shape and came to life.<\/span><\/p>

I could finally see myself growing stronger along with the slow, but steady, construction of this piece of work that is just beginning.\u00a0<\/span><\/p>

The script is about to be completed and a new stage begins: that of production, of materializing a story that will certainly touch hearts. For in this long journey, I have understood that this is my role in this world: to tell stories that transform us. I look forward to your feedback, readers, to guide my journey!<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/main>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Transatl\u00e2nticas Longa-metragem h\u00edbrido (doc\/fic) – 90\u2019 Logline: O desaguar de duas mulheres no oceano Atl\u00e2ntico. Sinopse: Transatl\u00e2nticas aborda a quest\u00e3o da condi\u00e7\u00e3o diasp\u00f3rica, atrav\u00e9s de uma perspectiva feminina. Alternando cenas reais com a fic\u00e7\u00e3o, acompanhamos a saga de duas personagens: uma brasileira e uma sul-africana que decidem refletir sobre as suas trajet\u00f3rias e investigar o processo de tomada de consci\u00eancia do que \u00e9 ser mulher negra numa sociedade mesti\u00e7a. Textos sobre o processo de escrita de roteiro:\u00a0 Aviso: esse texto, escrito em forma de cr\u00f4nica, n\u00e3o visa narrar fatos sobre o processo criativo em ordem cronol\u00f3gica. Ele consiste mais em um acesso \u00e0 minha fragmentada mem\u00f3ria, sobre fatos que marcaram o processo de escrita do meu primeiro roteiro de longa-metragem, como uma forma de refletir sobre os caminhos percorridos. Espero que apreciem essa viagem! Pois bem, decidi escrever sobre os caminhos que percorri durante o processo criativo deste filme, a fim de partilhar, criar pontes e di\u00e1logos para a reflex\u00e3o do processo de escrita de roteiro, cujo tema \u00e9 t\u00e3o intenso e profundo pra mim.\u00a0 Um outro fator que me fez partilhar, foi imaginar que, de alguma forma, eu poderia contribuir com os processos criativos de outras\/os roteiristas, j\u00e1 que n\u00e3o h\u00e1 f\u00f3rmulas para a cria\u00e7\u00e3o. Acho a partilha enriquecedora, pois ela nos traz insights, nos faz perceber erros e acertos antes n\u00e3o vistos, e assim a gente vai lapidando a obra e se fortalecendo nessa caminhada t\u00e3o \u00fanica, que \u00e9 a de contar hist\u00f3rias.\u00a0 No in\u00edcio do processo, eu, cartesiana toda, refletia muito sobre os m\u00e9todos e formata\u00e7\u00f5es de escrita, n\u00e3o para segui-los, mas sim justamente para fugir deles. Acho que \u00e9 um desejo comum \u00e0quela ou \u00e0quele que escreve: criar hist\u00f3rias \u00fanicas fugindo das normas do mercado audiovisual. Por\u00e9m, quanto mais eu refletia sobre o m\u00e9todo, mais bloqueios criativos surgiam.\u00a0\u00a0\u00a0 Al\u00e9m de estar muitas vezes travada diante do tema, com fortes refer\u00eancias de experi\u00eancias pessoais, buscava por uma forma, um dispositivo que me ajudasse a contar a hist\u00f3ria de uma forma interessante. Mesmo que eu estivesse desapegada das f\u00f3rmulas, eu me via sem ter como n\u00e3o segui-las, uma vez que a necessidade em me comunicar e ser entendida predominava. Me perguntava: ser\u00e1 que as pessoas v\u00e3o entender esse evento como o percebo? Ser\u00e1 que estou sendo precisa na minha abordagem? A busca pelas respostas era v\u00e3. Atrelado a isso tinha uma enorme crise de inseguran\u00e7a de uma mulher preta, que sempre gostou da escrita, mas que, como tantas outras pretas, n\u00e3o se via como roteirista.\u00a0 Era a minha primeira viagem no mundo do roteiro de longa-metragem, cujas refer\u00eancias eram todas emp\u00edricas: tudo era baseado, ou no vivido, ou no sentido. Ou seja, n\u00e3o tinha nada pautado na raz\u00e3o cartesiana, nas f\u00f3rmulas hollywoodianas e isso era um grande desafio para essa que vos escreve. Para n\u00f3s, mulheres negras, sobretudo as da minha gera\u00e7\u00e3o que cresceram sem muitas refer\u00eancias negras, sem letramento racial num pa\u00eds extremamente racista, se posicionar \u00e9 um ato que gera muitas inseguran\u00e7as, mesmo que elas n\u00e3o estejam t\u00e3o aparentes aos olhos dos outros. Foi necess\u00e1rio me regar com doses de amor pr\u00f3prio, pra vencer esse mar de inseguran\u00e7as e seguir costurando essa hist\u00f3ria.\u00a0 Essa \u00e9 a raz\u00e3o pela qual a partilha \u00e9 t\u00e3o importante. Ao escrever sobre esse processo desafiador, posso aliviar o peso dele, pois muitas outras pessoas passam a carreg\u00e1-lo comigo. Sem falar que compartilhar a experi\u00eancia ajuda outras mulheres negras a pegar outros caminhos, de menor rigidez consigo mesmas. E isso tamb\u00e9m torna a experi\u00eancia mais leve: pensar que eu posso estar aliviando o fardo de outra mana do futuro, do passado ou do presente.\u00a0\u00a0 Pus-me a pesquisar e a rascunhar certos fatos da minha trajet\u00f3ria, pensando quais seriam dignos de estar no filme. \u00c0 \u00e9poca eu trabalhava no audiovisual, num setor t\u00e3o r\u00edgido e formal, que at\u00e9 esquecia que, de certa forma, estava contribuindo para uma realiza\u00e7\u00e3o art\u00edstica. Eu tinha uma jornada dupla no mundo da administra\u00e7\u00e3o e da produ\u00e7\u00e3o executiva: meu dia era cheio de planilhas, or\u00e7amentos, controles, pagamentos, contratos, licen\u00e7as, impostos, etc.\u00a0 Por\u00e9m, houve momentos que os diretores (para os quais eu prestava servi\u00e7o), me convidaram para assistir ao primeiro corte e opinar sobre as obras. Esses momentos eram m\u00e1gicos. Aos poucos fui percebendo que tinha dom\u00ednio\u00a0 t\u00e9cnico, gra\u00e7as \u00e0 forma\u00e7\u00e3o em radialismo e TV pela UFPE e a uma vida como espectadora de filmes e s\u00e9ries.\u00a0 Meu envolvimento com os filmes para al\u00e9m da produ\u00e7\u00e3o era tamanha, que certa vez numa ilha de montagem fui convocada a realizar o meu pr\u00f3prio filme. Estava com uma amiga querida acompanhando de perto a finaliza\u00e7\u00e3o de um curta-metragem, eu como produtora executiva, e a amiga me olhou profundamente e perguntou: \u201cDani, quando voc\u00ea vai dirigir o seu filme?\u201d Essa pergunta ecoou na minha mente por um certo tempo. Aos poucos, fui me dando conta de que o lugar da burocracia n\u00e3o servia mais para mim. Ent\u00e3o comecei a escrever o meu pr\u00f3prio projeto de reflex\u00e3o sobre o cinema, os espa\u00e7os que nos s\u00e3o concedidos nessa hierarquia do audiovisual e assim foi surgindo esse projeto, de uma forma bem experimental.\u00a0 Como eu sempre tive uma inclina\u00e7\u00e3o \u00e0 pesquisa e \u00e0 academia, o projeto parecia mais um artigo cient\u00edfico do que uma proposta criativa. Para voc\u00eas terem uma no\u00e7\u00e3o, o t\u00edtulo desse projeto era \u201cCorpus Infinitum: Experimento n\u00ba1\u201d. Hoje eu vejo o qu\u00e3o contradit\u00f3rio \u00e9 esse t\u00edtulo, que se divide entre a rigidez acad\u00eamica, que busca justificar tudo – e isso era o meu ser procurando uma f\u00f3rmula para se expressar artisticamente -, ao passo que o experimento me permitia trazer alguma mudan\u00e7a e inova\u00e7\u00e3o.\u00a0 Ao passar pelo meu primeiro laborat\u00f3rio criativo, as fichas come\u00e7aram a cair: os avaliadores pediam por uma linguagem mais leve e simples, menos acad\u00eamica, que se comunicasse com qualquer pessoa que se dedicasse \u00e0 leitura do texto. Eis que veio a sugest\u00e3o da mudan\u00e7a de t\u00edtulo: \u201cDo lado de c\u00e1 do Atl\u00e2ntico\u201d, j\u00e1 que eu estava refletindo sobre as consequ\u00eancias da di\u00e1spora africana aqui no Brasil.\u00a0 Esse t\u00edtulo<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-422","page","type-page","status-publish","hentry"],"_hostinger_reach_plugin_has_subscription_block":false,"_hostinger_reach_plugin_is_elementor":false,"_links":{"self":[{"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/pages\/422","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/comments?post=422"}],"version-history":[{"count":22,"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/pages\/422\/revisions"}],"predecessor-version":[{"id":581,"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/pages\/422\/revisions\/581"}],"wp:attachment":[{"href":"https:\/\/maatproducoes.com.br\/en\/wp-json\/wp\/v2\/media?parent=422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}