ORIGINAL TITLE: Os Invisíveis
ENGLISH TITLE: The Invisibles
DIRECTOR: Ricky Mastro
PRODUCTION COMPANY: Syndrome Films
PRODUCERS: Daniel Van Hoogstraten
RUNNING TIME: 100'
GENRE: Fiction, Coming of age story, Drama, Youth
STATUS OF THE PROJECET: Development
Goals at Lovers Goes Industry: Funds, Co-Producers, Sales Agent
Giulia - In development
Artistic supervisor Philippe Barrière (Torino Film Lab, La Scénaristerie)
The Invisibles (Os Invisíveis) - In development
Cinéma en développement, Cinélatino Toulouse
Lovers goes industry
Carlinha and André, 2023, HD, 10 min – Postproduction
Financed by the short-film award from the State of São Paulo, Brazil (Proac 56/2020)
To be released in 2023.
Xavier et Miguel, 2022, HD 12 min
Financed by the LGBTI+ award from the State of São Paulo, Brazil (Proac 16/2020)
World premiere in 2022 – The Open Reel sales agent
7 minutes (7 minutos), 2020, HD, 76 min
La Tempête (The storm), 2017, HD, 16 min
La Tapette (The Mousetrap), 2016, HD, 9 min
Xavier, 2015, HD, 13 min
Koka, 2011, video, 5 min
Cinco Minutos (Five Minutes), 2008, fiction, 35 mm, 10 min
Felizes para sempre (Happily ever after), 2009, documentary, video, 7 min
A mais forte (The Strongest), 2009, 35mm, fiction, 15 min
The Invisibles is a lively and passionate story of young love in Brazil, highlighting the LGBTI+ youth community who were born with HIV during an oppressive, sweaty summer heatwave.
Maya, Miguel, Hulk and Pedro seem to have the best and hottest summer of their lives. Their routines are based on going to the best night club in town, playing soccer, hanging out in the apartment they live in, sharing dreams and goals, and their daily HIV medication that they have taken since they were born. Their friendship and destinies are affected when Pedro realizes that Miguel is the love of his life, not Hulk; and Maya suggests a pact at New Year’s Eve to everyone to stop their antiretrovirals. What seems like a happy coming of age story becomes a tragedy when Hulk dies, and Maya, Miguel and Pedro must face the consequences of their first acts of newly arrived adulthood.
My strength and calling as a director is in telling stories of minorities that have never been told or rarely seen on screen. For the past few years, I have written about characters who live with HIV. Last year, I did an awareness campaign on social media with videos of almost 30 people telling their stories about living with HIV. Their stories have inspired me because real life always impacts the movies that I make.
The campaign helped me in the development of “The Invisibles.” Meanwhile, I acquired state funds to shoot two short films. The first “Xavier and Miguel” speaks about youth and HIV. The other, still in post-production, “Carlinha and André” shows how elderly people deal with HIV. With “The Invisibles,” I’m not telling a “slice-of-their-lives” moment, like in short films. Rather, I will show their routines, their projects, their reality. I will make a film of the youth, for and with them to show the world these youngsters who were born with HIV and who have never seen their stories told in a feature film.
Downtown São Paulo offers a world of possibilities for showing the changes that the main characters will have in the film. A supercity, a megalopolis that demands strength and hope for the youth to survive. Maya, Pedro, Miguel and Hulk will explore and learn every inch of their part of town. They will be kings and queens of wherever they go, and they’ll go places: Cocoon’s dance floor, the soccer field where they play, and the rooftop of the apartment that they share. In the beginning these locations are paradise, but as time goes by and life makes them more mature, these places become more and more louche. São Paulo is also known for two coexisting measures: a wonderful, but at the same time soul-crushing city.
From the start, we will have a strong omnipresent crescendo heatwave that will suffocate the group and will set the tone for all the cinematography and sound choices that the film will have: sweats bodies and faces, non-stop noisy fans, burnt yellowish soccer field grass, and a color pallet full of burning colors. Maya, Miguel, Pedro and Hulk’s pact will melt their close friendship and the consequences will be fateful.
I would like to offer to Brazilian and world cinema a new point of view. One of these youth in which neither their sexuality or their serology play a major role in who they are. Maybe, nowadays, it’s a bit utopic to think like this, but it should hopefully be the norm really soon. With a fresh young cast, I would like to send this message and produce in the audience’s imagination a taste of freedom and of living life like there’s no tomorrow.
Ricky Mastro has written and directed 8 short films that were distributed to over 200 festivals. He was part of Fucking Different São Paulo which had its premiere at Berlinale – Panorama 2010. In 2018, Ricky shot his first feature film 7 minutes produced with Léon Diana that was released two year later and it has been distributed to many territories around the globe.
Nowadays, Ricky writes with Léon Diana their new feature film projects: The Invisibles and Giulia.
Ricky is active in the LGBT+ festival circuit. He is the film programmer for the International Festival of Sexual and Gender Diversity in Goiás – Brazil. Also, he created RECIFEST (Festival LGBT+ in Recife, Brazil).
Ricky teaches film directing at two schools in Toulouse: ACT Formation and Ynov University.
Daniel Van Hoogstraten is the founding partner of Syndrome Films and has been working in the entertainment industry for nearly 2 decades now. He produced films such as Diamantino, winner of the Grand Prize at La Semaine de La Critique–Cannes 2018, Tua Ingugu [Water Eyes], commissioned by the UN; Pendular, FIPRESCI award’s winner; The Other End winner of the best actress and best film at the Rio de Janeiro Int’l Film Festival 2016. Daniel also was an Emmy International Juror for several times.
SYNDROME FILMS develops and produces content with artistic excellence, taking into account social and environmental impact as well as commercial potential. Among its productions we highlight Diamantino, winner of the Grand Prize at La Semaine de la Critique–Cannes, Pendular, winner of the FIPRESCI award at the Berlinale; and The Other End, awarded best film and best actress at the Rio de Janeiro Int’l Film Festival