Camilo Pessanha, the greatest Portuguese Symbolist poet, wrote and rewrote his only work – Clepsidra – until his death. The film is neither a portrait of him, nor an illustration of his poems, but rather an essay of the cinematographic form of his voluntary exile in Macau. How does one film such a unique opium addict? By handing the video camera to a dead man, by listening to his poems, by following Carlos Morais José’s steps and reflexion.
