Aqui está o Farrusco, que ainda é um soldado, aqui está a irmã de Carlota”. Carlota conseguiu furar o cerco e salvar os seus camaradas.Naquele dia, em Benguela, haviam-na destacado para acompanhar a equipa de jornalistas ao Balombo e regressar à base sã e salva no final do dia.“Ela era uma mulata com um encanto misterioso e, assim nos parecia, uma grande beleza.

“I had the chance to go back to Angola with my camera and look for them, and say, ‘Look Ryszard, here’s Artur’, who feels like the biggest loser in the war because the society he wanted never materialised, ‘here’s Farrusco’, who’s still a soldier, ‘here’s Carlotta’s sister’. Tombou em combate a comandar as forças do Balombo, explicaria um soldado ainda assustado com o ataque que acabara de presenciar, uma hora depois de a equipa de jornalistas deixar a vila. Enquanto tentava aproximar-se ao máximo da frente de combate para obter imagens, Kapuscinski e uma equipa de filmagens portuguesa conseguiram autorização para ir ao Balombo, na província de Benguela. O motorista liga o motor e mete a primeira. A pequena vila era um dos pontos mais difíceis de conquistar por estar localizada na floresta, sendo, por isso, fácil para o inimigo aproximar-se à socapa.Enquanto se preparavam para sair, aproveitando a hora de mais calor para escapar ao conflito, “Carlota apareceu com uma espingarda automática ao ombro”, escreve Kapuscinski. “Por isso, escolta-nos o tempo todo, com a sua espingarda automática pronta a disparar. Ela deveria regressar à base de Benguela com a equipa mas num impulso desiste, desobedecendo às ordens do seu comandante Monti.“Sentámo-nos como à vinda para cá: Carlota à frente, nós atrás.

He was always adding a lot of allegorical magic and poetry to it.”Accusations of “not following the facts per se” – or of simply inventing episodes – were Nenow acknowledges the controversy, but says Kapuściński remains an iconic figure in Poland, where, he says, people have long been aware of his approach. “This guy wasn’t following facts per se; he was always showing the world through the prism of the emotions of the people he met. Apressado, o jornalista aproveitou os poucos minutos que teve para fotografar Carlota. A scene from Another Day of Life, based on Ryszard Kapuściński’s experiences in Angola. Deve ter sido esse o motivo da sua decisão”, especula o autor entre o sentimento de tristeza e culpa por lhe ter permitido tomar essa decisão.Carlota, imortalizada por Ryszard Kapuscinski na ponte sobre o rio BalomboPresidente nomeia nova secretária de Estado da Família e Promoção da MulherDesabamento de muro resulta na morte de duas criançasTribunal Constitucional rejeita recurso da UNITA e viabiliza novo partido E então – todos nos lembramos de que foi exactamente nesse momento – Carlota sai do carro e diz que vai ficar ali. Another Day of Life also uses documentary to translate the horror and poetry of Ryszard Kapuściński’s book “My money ran out and I am barely alive,” he wrote. Senti que tinha que cumprir um compromisso com ele e queria responder às perguntas dele”, manifestou o cineasta. Ria e dizia piadas, mas não respondia aos cortejos dos homens que acompanhava na viagem. Ryszard Kapuściński and soldiers in Angola in 1975.Kapuściński and Carlotta in the animated sequences. Mais tarde, quando revelei as fotografias que lhe tirara, as únicas imagens de Carlota que restaram, vi que não era assim tão bela. Ouvimos as suas botas a baterem uma na outra enquanto caminha”, relata o autor.O que surpreende na narrativa é a decisão repentina de Carlota. Na semana em que se comemora o Dia da Mulher Angolana, o Rede Angola deixa-lhe aqui o perfil da guerrilheira Carlota. Queria ser enfermeira mas enquanto havia guerra havia escolhido ser guerrilheira. I felt I had to fulfil a commitment to him and I wanted to answer his questions.”Not long before he died in 2007, Kapuściński and Farrusco managed to speak by phone with the help of the Polish ambassador in Angola. “It is more or less clear what will happen, which is that the Angolans will win, but it is going to take a while and I am on my last legs.”Kapuściński, long acknowledged as one of the greatest journalists of the 20th century for his literary evocations of wars and revolutions in Africa and Latin America, was right on both counts.He was haunted by what he had seen, what he had done – and what he had failed to do – while the nascent conflict he had chronicled would stagger on until 2002.The experience provided him with the raw material for Another Day of Life, his deeply personal book “about being alone and lost” in the chaos and confusion of Angola.Eleven years after Kapuściński’s death, the book has been One of the main challenges they faced was how to evoke the sense of While De la Fuente and Remírez travelled to Angola to shoot documentary footage and track down the book’s surviving protagonists, the Polish animator The journalist’s thoughts, fears and recollections are rendered in surreal sequences of disintegrating cities, bodies and even a fragmenting telex machine. “Kapuściński’s books are obligatory in school; you have to read them when you’re a teenager. Pour plus de détails, voir Fiche technique et Distribution Another Day of Life est un film documentaire d’animation réalisé par Raúl de la Fuente et Damian Nenow , sorti en 2018 . “Embora usasse um uniforme camuflado grande demais, via-se bem que era atraente. So it’s not a surprise for any Polish person – it’s not rocket science – that he was not strictly following facts.”Another Day of Life ends with the journalist speculating as to the fates of some of those he met in the It was that epilogue that gave De la Fuente his way into the film, which is released in Spain this month and is due to reach British cinemas next year. Em 1974, fez o treino na floresta de Cabinda. In one of the film’s most stunning scenes, Kapuściński and an Angolan journalist, Artur, come across a long stretch of road littered with the corpses of civilians, and imagine them being slaughtered by a cloud of weapons that roils a red sky.“We never debated whether it was right or wrong because it somehow felt natural in the context of Kapuściński’s writing,” says Nenow.