A surreal psychological thriller to get lost in, Não Sou Nada (“I Am Nothing”) draws viewers into the demonically kaleidoscopic world of Portuguese modernist poet Fernando Pessoa. It is the most ambitious film to date from Edgar Pêra, whose broad and striking filmography was celebrated in a career-spanning retrospective at IFFR 2019. Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club. Though mostly similar in appearance, the heteronyms differ hugely in personality – above all, the gleefully unhinged Álvaro de Campos, enacted by Albano Jerónimo. These clashes start to become indistinguishable from dramatic rifts in Pessoa’s psyche: as he is increasingly beset by philosophical turmoil, his heteronyms are murdered, one by one. Meanwhile, Victoria Guerra plays a double role as Pessoa’s Madonna-mistress Ophélia: at once a saintly psychiatric nurse and duplicitous femme fatale. In this way unmistakably noir, the film nevertheless presents no murder mystery nor nihilistic twists. Instead, its shadow play of sensations and emotions finds the perfect analogue for Pessoa’s poetry: bewildering and beguiling, as it vividly explores paradoxes of the heart and mind. 源自：https://iffr.com/en/iffr/2023/films/n%C3%A3o-sou-nada-%E2%80%93-the-nothingness-club
