The Portuguese director, Paula Tomás Marques, delves into the themes of time and space in her film as she unveils the tumultuous tale of a gender-nonconforming individual persecuted by the Inquisition. Through the character of João Liberada, whose existence is a labyrinth of struggles involving gender identity, love, and societal violence, Marques presents a narrative that resonates with contemporary echoes, bridging the gap between past and present. Described by Marques as a means of “writing history through cinema,” “Two Times João Liberada” serves as a poignant homage to the plight of marginalised individuals throughout history, shedding light on the enduring struggles faced by the LGBTQ+ community.
“Two Times João Liberada” delves into the life of João, a talented actress hailing from the streets of Lisbon who finds herself cast in the lead role of a biopic centred around Liberada, a historically significant figure known for defying conventional gender norms and subsequently facing persecution at the hands of the unforgiving Portuguese Inquisition during the 18th century. June João, with her deep acting, invites us to witness the enduring nature of humanity’s quest for acceptance and understanding.
Across four mesmerising chapters, Paula Tomás Marques unravels the cinematic tapestry of the film’s opening sequence, “Where Did You Come From?” Here, we witness João’s emergence from the depths of the woods, encountering curious villagers as she quenches her thirst with milk and recounts her harrowing tale of persecution during the Inquisition. The audience is seamlessly transported from the annals of history to the actor’s contemporary existence in a bustling city haunted by the spectral presence of Liberada, a spectral companion who extends her ethereal hand to lead João into the realm of dreams.
Among a swirling collage of documents and sketches, the narrative reveals the scandalous testimonies of neighbours and villagers regarding Liberada’s alleged liaison with shoemaker Franco. As the enigmatic figure grapples with questions of self-identity and societal perceptions, the director deftly employs cinematic nuances to evoke a palpable sense of the past brushing against the canvas of João’s subconscious. Within a compact runtime of an hour and ten minutes, a rich track of themes emerges, exploring the perennial concept of gender discord and the labyrinthine journey of self-discovery.
Under Edward Berger’s expert guidance in “Conclave,” the complex topic of transgender representation approaches the Vatican, a stronghold where traditionalists fervently uphold long-standing beliefs. Against this backdrop, a profound dialogue unfolds between João and two kindred sisters of the ecclesiastical flock, united in their shared voyage of self-discovery. As the trio embraces, a poignant tableau reminiscent of the divine Trinity emerges, inviting contemplation of higher truths. Can this cinematic opus wield its narrative alchemy to sway the mighty religious establishment towards an embrace of diversity and inclusivity, or is this mere wishful thinking in a realm resistant to change? Amidst the shadows of uncertainty and the suffocating cloak of anonymity, is there a whisper of liberation to be found—a pathway illuminated by the flickering flames of self-realisation and acceptance?
The film may intend to focus on violence and pain, but the subtle conflict between João and Franco in the heart of the woods draws our attention to something beyond—somewhere in the history of human creation and love and whether in the shape of sexual dedication or guilt. When the director succumbs to a mysterious paralysis, leaving the project in disarray, João finds herself adrift in a sea of chaos, grappling with unanswerable riddles that transcend the film’s uncertain future. In this whirlwind of uncertainty, João wrestles not only with the enigmatic narrative of Liberada but also with the profound ties binding her to the spirit of the enigmatic figure, unravelling a web of mysteries that defy easy explanation.
The film, as the director says, aims to grasp the complexity of representing bodies that never had agency throughout history. Marginalised people are only registered in history when they cross paths with power, as in the case of João Liberada, who crossed paths with the Inquisition. The film explores the representation of queer people in the film industry and the dynamics of production in the performing arts and cinema, particularly in the Portuguese socio-cultural context. “Two Times João Liberada” is based on the personal experiences of the director and main actor, as well as the team’s reflection on their work as crew members. “Two Times João Liberada” screens in the 2025 Berlinale Perspectives Program and will shed new light on the challenges queer people faced throughout history.
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