{"id":14555,"date":"2025-08-07T19:26:59","date_gmt":"2025-08-07T19:26:59","guid":{"rendered":"https:\/\/nsf.pt\/?p=14555"},"modified":"2025-08-07T19:29:16","modified_gmt":"2025-08-07T19:29:16","slug":"a-mulher-que-anda-de-mota","status":"publish","type":"post","link":"https:\/\/nsf.pt\/index.php\/2025\/08\/07\/a-mulher-que-anda-de-mota\/","title":{"rendered":"A mulher que anda de mota"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">CINEMA &#8211; DOCUMENT\u00c1RIO &#8211; Cortar pedra, abrir caminhos<\/h2>\n\n\n<div class=\"wp-block-post-date\"><time datetime=\"2025-08-07T19:26:59+00:00\">7 de Agosto, 2025<\/time><\/div>\n\n\n<h3 class=\"wp-block-heading\">Manuela Matos Monteiro, em Melga\u00e7o no MDOC<\/h3>\n\n\n\n<div style=\"height:18px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>\u201cCutting Through Rocks\u201d \/ \u201cCortar pedra, abrir caminho\u201d \u00e9 um document\u00e1rio realizado por um casal de iranianos &#8211; Sara Khaki e Mohammadreza Eyni que obteve o Pr\u00e9mio Jean-Loup Passek no <a href=\"https:\/\/www.facebook.com\/mdocfestival?__cft__%255B0%255D=AZU3lhq8BcVw_zmft2sYzs8pPTtp1W3mnF5-363BsaPY9r_j-ZQlhRuPoqvzi_fqaNpzHtpOL2aA3bNDKvfnvEZWI4GYas07w8VRW_PJD-5gYP9ma5JUHfnVxwaEuPo0BNQrMaEDmIhsEMLRyojr4DJND5gQNn4OEptL-fQykRsW26VDaxyiBB3RLT-B0-wJJ6Q&amp;__tn__=-%255DK-R\">MDOC &#8211; Festival Internacional de Document\u00e1rio de Melga\u00e7o<\/a>.&nbsp;<\/strong><\/p>\n\n\n\n<p>O document\u00e1rio acontece numa vila rural no noroeste do Ir\u00e3o de onde Eyni \u00e9 natural o que facilitou as filmagens que duraram seis anos. A protagonista \u00e9 Sara Shahverdi , de 43 anos, divorciada e n\u00e3o tem filhos. Como parteira acompanhou o nascimento de 400 beb\u00e9s. \u00c9 uma mulher reivindicativa, assertiva. <\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>A \u00fanica mulher que anda de mota na comunidade \u00e9 eleita com a maioria dos votos para a assembleia o que acontece pela primeira vez na vila.&nbsp;<\/p>\n<\/blockquote>\n\n\n\n<p>Para al\u00e9m de alterar padr\u00f5es viciados de funcionamento pol\u00edtico e administrativo, ela desafia regras patriarcais: contesta os casamentos infantis, estabelece a co- propriedade das terras entre as mulheres e as suas fam\u00edlias, incentiva as raparigas a estudar e ensina-as a andar de mota.<\/p>\n\n\n\n<p>O seu ativismo, a subvers\u00e3o das regras ditadas pela tradi\u00e7\u00e3o vai provocar uma forte rea\u00e7\u00e3o por parte sobretudo dos homens que se sentem amea\u00e7ados. A tentativa por v\u00e1rias vias de lhe retirar o poder conquistado pelo voto, n\u00e3o lhe retira a determina\u00e7\u00e3o.&nbsp;<\/p>\n\n\n\n<p>A narrativa do filme tem componentes que o tornam particular ao cruzar a luta, a tenacidade de Sara com o dom\u00e9stico, o afetivo e o po\u00e9tico. Quando esta mulher \u00e9 assaltada pela ang\u00fastia, pela d\u00favida, caminha e queda-se junto a duas \u00e1rvores que plantou com o pai e reflete, falando consigo pr\u00f3pria em busca de solu\u00e7\u00f5es.&nbsp; <\/p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>Mostra que tenacidade tamb\u00e9m rima com vulnerabilidade.<\/p>\n<\/blockquote>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"730\" data-id=\"14558\" src=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1-1024x730.jpeg\" alt=\"\" class=\"wp-image-14558\" srcset=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1-1024x730.jpeg 1024w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1-300x214.jpeg 300w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1-768x547.jpeg 768w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1-1536x1094.jpeg 1536w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock1.jpeg 1600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"768\" height=\"960\" data-id=\"14557\" src=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock3.jpeg\" alt=\"\" class=\"wp-image-14557\" srcset=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock3.jpeg 768w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock3-240x300.jpeg 240w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><\/figure>\n<\/figure>\n\n\n\n<div style=\"height:31px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>A cena final do filme resume simbolicamente esta demanda em transformar a vida das mulheres subjugadas ao poder da tradi\u00e7\u00e3o, ao poder patriarcal: <strong>raparigas com m\u00e3es e pais experimentam a alegria de percorrer horizontes tendo por companhia o vento e a liberdade conquistada a pulso.<\/strong>&nbsp;<\/p>\n\n\n\n<p>NOTA: No Sundance 2025, \u201cCutting Through Rocks\u201d conquistou o World Cinema Grand Jury Prize: Documentary para al\u00e9m de outros pr\u00e9mios em festivais de cinema.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"height:38px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" width=\"612\" height=\"680\" src=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/manu2.jpg\" alt=\"\" class=\"wp-image-14556\" style=\"aspect-ratio:0.9;width:177px;height:auto\" srcset=\"https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/manu2.jpg 612w, https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/manu2-270x300.jpg 270w\" sizes=\"(max-width: 612px) 100vw, 612px\" \/><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Manuela Matos Monteiro<\/h4>\n","protected":false},"excerpt":{"rendered":"<p>CINEMA &#8211; DOCUMENT\u00c1RIO &#8211; Cortar pedra, abrir caminhos Manuela Matos Monteiro, em Melga\u00e7o no MDOC&#8230;<\/p>\n","protected":false},"author":2,"featured_media":14559,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[669,459],"tags":[632],"featured_image_urls":{"full":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22.jpg",2078,1196,false],"thumbnail":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-150x150.jpg",150,150,true],"medium":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-300x173.jpg",300,173,true],"medium_large":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-768x442.jpg",640,368,true],"large":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-1024x589.jpg",640,368,true],"1536x1536":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-1536x884.jpg",1536,884,true],"2048x2048":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-2048x1179.jpg",2048,1179,true],"covernews-slider-full":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-1115x715.jpg",1115,715,true],"covernews-slider-center":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-800x500.jpg",800,500,true],"covernews-featured":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-1024x589.jpg",1024,589,true],"covernews-medium":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/rock22-400x250.jpg",400,250,true]},"author_info":{"info":["Carlos Ribeiro"]},"category_info":"<a href=\"https:\/\/nsf.pt\/index.php\/category\/cinema\/\" rel=\"category tag\">CINEMA<\/a> <a href=\"https:\/\/nsf.pt\/index.php\/category\/curtas\/\" rel=\"category tag\">CURTAS<\/a>","tag_info":"CURTAS","comment_count":"0","_links":{"self":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14555"}],"collection":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/comments?post=14555"}],"version-history":[{"count":2,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14555\/revisions"}],"predecessor-version":[{"id":14561,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14555\/revisions\/14561"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/media\/14559"}],"wp:attachment":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/media?parent=14555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/categories?post=14555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/tags?post=14555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}