The Last Supper combines contradictions and false myths that can be found in Sao Paulo. The “apostles” are short-lived delinquents, protagonists of a brutal urban life of which they are often the victims. This precariousness of existence is further accentuated by using portraits that are hard to distinguish. Their features decomposed by the low definition of the pixels, makes both the identification and the identity problematic, and indicates the multiplicity of cases.
A hypnotic power based on the perpetual motion, imprisoned in the ever post-colonial structure, Uphill opens with a view of an uphill street of metallic grey cobblestones that may recall a Renaissance atmosphere. The slope occupies more than half the image with in the background empty houses that function as theatrical set; meanwhile, a spectral atmosphere hovers over the whole scene, intensified by the haunting music. Suddenly moving figures appear, shown in slow motion, they seem like souls in torment condemned to perpetual motion in an anomalous circle of hell, wanderers in no-man’s land, who do not know their destination. They seem ghosts and they are shot from behind, walking from the bottom to the top, swept away by an ascensional current, absent humanity that does not burden the process of development and industrialization underway because they consume and produce little, they fade into nothing, aware that they will never arrive at the top of the street. The burden of a dead city, illuminated by a cold, chilling light, even if the scene takes place in the middle of the day.