Tomás Wallenstein

Schrödinger's cat may have nothing to do with this. It doesn't matter if, inside the box, the cat is alive, dead or undead. It is a paradox. Still, a film about a Portuguese rock band can begin with an introduction to quantum physics, when some of these basic concepts are used as a starting point for the creative process. The director Ricardo Oliveira recorded the daydreams of recording the third album of originals by Capitão Fausto: Capitão Fausto Têm os Dias Contados. And when in one of the songs - “Corazón” - is heard at a certain point: “… Pontas soltas. Isso é comigo. E por isso queres também ser assim. Pontas soltas. Isso é comigo. Para estragar um disco tenho-me a mim…”, it is clear that the band of Tomás Wallenstein, Manuel Palha, Francisco Ferreira, Domingos Coimbra and Salvador Seabra reached the age of majority and tied such loose ends. More than a diary, it is an experience.

The story of five generations of the Austrian-Brazilian Knieps family, from the inauguration of their family-owned Great Mystical Circus in the 1910s up to the early 21st century, following both the family and the circus from their prime through to their decadence.

Lourenço is the son of Francisco Figueiredo, a soccer coach in the beginning of a very promising career. Everything goes well: Francisco's team is in the Portuguese Cup final and Lourenço is going to be class valedictorian in a very prestigious private high school. But everything starts to collapse. Francisco is fired and Lourenço must transfer to a public high school whose students are predominantly from a ghetto near Lisbon. While Lourenço is fighting to fit into a new and harsh reality, he also helps his father find his lost dignity. Hope is a strange place.

Composed of unpublished versions of the band's repertoire, Sol Posto integrates three performances recorded live and exclusively for the film. The performances take place at three different times of the day: twilight, night and dawn. As in recent daily life, the film faces the idea of a period of reflection instead of action, and suspension instead of completion. The hours of Sol Posto are the stage of rest, seclusion, dreams and plans, darkness, waiting and the unknown. If, on the one hand, it wants to evoke the most credible aspects of a concert experience, it also becomes an opportunity to break the physical barrier of the traditional stage/audience, bringing the spectacle closer to the spectator, bringing it into the stage and placing it at a distance of complicity with the musicians. The sound and image were recorded live, during a week in September 2020, in Melides.