Seu Nome
Seu Nome - written by Angelo Gonzalez
(In Non-sequential order, scenes 1-70), using the David Lynch 70 card method.
Inspirations:
- 8 1/2
- Jim Jarmusch
- Past Lives
- Before Sunrise
- Before Sunset
Today/Bogota: 1-17
Memory: 18-24
Rio: 25-62
Closing: 63-70
Scene 1: Crossroads
Main character, Marco is standing at a crossroads waiting for the crosswalk light to change, as he is heading back to his office in an urban downtown setting. --> Time stops at the crosswalk (literally) but no one else notices and there is no one standing around waiting to cross...
Philosophical Context: Explains that the American Dream is dead or at least in a perpetual dream state.
Marco is then seen working late past midnight in the office, boredom sets in. Eyes jolting back and forth from webpage to webpage in an office alone, working.
Scene 2: In Office
In office, Marco starts describing the cam website addiction, trying to find a way out from feeling empty. From there, we see him staring out the public bus after work alone. Goes home alone, makes dinner, & interacts/feeds his cat... Goes to bed on his phone searching...
Scene 3: Nights
Nights bleeding into each other, walking and seeing what you want (walking through Malcolm X Park, Adams Morgan on 18th street, Mount Pleasant in the evening)... We see Marco walk into a local cafe (Marx's Cafe) in Mount Pleasant for jazz night.
Scene 4: Mamihlapinatapai
Feeling shy, Marco sits at the end of the bar, writing on flashcards some undescribed notes and looks up and notices a bartender, Damon. She is from Mexico, and he feels somehow like he would like to talk with her but does not know how, describes the word in 3rd person, "mamihlapinatapai" as the feeling he is feeling in that moment.
A lady friend comes by, makes introduction on behalf of Marco to the bartenders at Marx, asking for them to take care of Marco. Creating a domino effect of connection. Later, a patron sits next to Marco and they talk about L.A. culture, groups before the internet, and cultures in other cities in the U.S. = Miami, Oakland, NYC in early 90s).
You see at the end of this scene, the notecards that Marco came with, with the title "No Name" in the corner of the front notecard, as Marco walks out --> fades to walking home slightly inebriated with a slight smile having enjoyed the jazz played.
Scene 5: Phone Call
Marco has a call with Colombian friend, David --> Vignette to a few years back to Devoción (inspiration for coffee import business) --> back to present, Marco and David confirm flights later this month to Bogotá. Marco looks at spreadsheets and logistics and confirms trip with David will happen. They both agree to name the coffee company, "Periquito", with David explaining the reasoning that his grandma used to call a small afternoon coffee, "un periquito"...
Scene 6: Labor Taedium
Calls ends; immediately followed by quick sequence of morning list from phone read off by Marco to indicate the daily tasks that need to take precedent = in order to make order = stays on task, no longer bored, but intrigued and now in a creative spirit and out of the chaos of working from home and the reckless clothes and dishes still needed to get done (we hear "Morning of the Carnival" by Gerry Mulligan Sextet on vinyl being played as Marco puts on the record in the living room).
Slowly, Marco's senses dull and he gets into a lull of boredom --> curiosity into looking up the cam website again piques Marco's interest --> uses method to find someone obscure and different from other cam girls. –> he is looking for someone who appears like themselves and not trying to put on affection, someone who is restless perhaps like he is and fed up with the world just as much as he is, or just an artful soul, someone real.
He finally discovers a page where it is showing a room with art disparately on the wall, interesting music playing but no person in the room. He stays in the room listening to the music and working on his tasks. No one ever shows in the room. Fade scene.
Scene 7: Taedium Vitae, Pars Duo
Fades into intrigue only... then the next day occurs --> Marco wakes up and walks to park next door and walks in cool of the morning listening to music observing people. Feeling slightly more alive.
--> Followed by feding cat/routine prior to work --> same humdrum existence, but slight smiles at small occurrences. Starts to think about the cam room from the night before with the cool Brazilian music.
Scene 8: Conversation
Marco decides to go into the chat room with CL__ (or to be determined later...); has conversation about what he's looking for, likes the vibe that CL__ is creating ~ asks about her day... She says does it matter?
Metaphysical conversation ensues --> asks what life is like in Colombia... _> CL refuses playfully and goes into asking about Marco's life --> the question comes up from Marco asking CL, "what do you want in this life?" And before CL can answer, she thinks, smirks and half-smiles and looks at the camera and the show ends. End Scene.
Scene 9: Clocks
Late nights are seen from Marco's apartment (shows clock) --> Marco hovering over laptop in CL's chat room talking and typing --> masturbating in bathroom, while also in bed --> sharing laughs with CL and listening to music and drinking virtually --> both at ease with just talking --> exchanging numbers
Scene 10: The Exchange
After exchanging numbers; Marco receives risque photo & video at work in office... decides to go to the bathroom --> decides to pop the question --> "would it be crazy if we saw each other in Bogotá? --> you just see the kitten-like side smile from CL__ confirming yes.
Scene 11: Libreria Merlin
We see CL wandering through the magical realism that is Libreria Merlin. And as she does, we see her eventually get a text as she is about to pick up a Clarice Lispector book to skim read through.
Scene 12: Bogotá
Marco and David meet at the airport in Bogotá, ride to the airbnb and David explains the nature of the visit (to see his family in Bogotá, specifically his grandmother, as well as making business relations with coffee associations/farmers). Soon thereafter, Marco receives a text from CL ~ "are you here?" --> Marco replies, "yes". --> CL asks Marco to meet him at Bukowski Bar.
Scene 13: Spanglish
At Bukowski's, nervousness is felt on both ends; CL is wearh a bohemian dress with black boots and fun haircut --> ends up with lots of laughs and good conversation in Spanglish --> her friend shows up --> asks Marco if he wants to go to a party... Marcos smiles and says "porque no?" and goes along with the ride not knowing what to expect...
Scene 14: Peligrosa o no?!
Scene starts with passing cigarettes from front seat of the cab to the back, faces outside the cab windows feeling the air while the cab soars through the night on the Bogotá highway, while everyone sings karaoke in cab, laughing some more --> Marco gets a call from David and sounds worried, Marco assuages his fears and tells him he's fine and he'll see him in the morning --> cut to arriving at house party --> parties until wee hours of the night until the sun comes up --> first kiss between CL and Marco.
Scene 15: Sunrise
Scene starts with the warmth of the sunrise and one of the ladies at the house party making coffee. The same woman brings out fruta from the fridge, fruit that Marco has never encountered before – It appears to him as alien and strange, and yet this strange fruit strikes a chord and sends frissons all along his arms.
We see Marco smiling and everyone on the couch or on the floor smiling, and he looks at CL closely and pulls her in for a forehead kiss.
Scene 16: Daydreaming
We see a tired Marco is now in a taxi (didi) riding back to his airbnb and he drifts off into a daydream. We see daydreams of CL walking through la finca de cafe in the mountains of Colombia, but she's not really there. Then, Marco snaps back to reality and begins talking and asking questions to the owner of la finca about the coffee and how it is grown.
Scene 17: Hands
We see one last daydream of CL as Marco drinks his coffee with the prepared breakfast at la finca, with one hand on the porch tile that he sits upon. We see Marco talking to CL in this daydream, asking her to meet at his place back in Bogota, says it has a nice view of the city, and we see her smiling and nodding. Immediately, scene shifts to CL and Marco holding hands in the taxi on their way to the airbnb.
Not much dialogue is exchanged, but we see both characters walk over to the new airbnb. Inside, CL writes some original poetry in Marco's little red notebook while smoking a cigarette. And CL decides to leave early with Marco left reading what she wrote in spanish. But before she leaves, she asks Marco if he likes "senderismo". The last puff of smoke transitions beautifully to the fog of the mountains where they go to hike.
Scene 18: Senderismo
We see CL leading the way and Marco huffing and puffing because he is not used to the altitude. But they are genuinely enjoying the walk together as she points to certain trees and plants in the forest high in the mountains.
Scene 19: Chicha in La Candelaria
Conversation over Chicha in La Candelaria. Insert dialogue here.
Scene 20: Expectations
Marco tells CL that he has a new place to stay and would like for her to come. This leads to an impromptu photography session, moments of intimacy, and CL dancing around the room in lingerie.
CL lays there still in bed, mute and sad. A similar expression is felt in Marco's body language. It is the opposite of expectations. The casual moments of intimacy leaves a space of emptiness, only to be lit up with another cigarette that CL asks for permission to light. She also asks for the remote and begins searching on youtube on the television...
She finally finds what she is looking for, "The Tobacco Shop" by Pessoa. They listen to the poem together in bed. We see a shot of the universe, of everything. The Amazon. The grandmother. The Tobacco shop owner. The writer. Each other's parents. The child reaching to the sky. The monkeys comforting each other. The river leading to the sea. The river leading to the sea.
Once the poem montage is over, CL is seen walking out of the airbnb to the playground to the swings. She swings for awhile with a more slight kitten smile, this time more pensive. Eventually, she rides off on her bike and doesn't look back to Marco. Marco sees her off and sighs, a sigh that wishes the intimacy never occurred. Knowing that there was something much more greater than intimacy was here.
Scene 21: Leaving Bogotá
Marco goes to the airport --> We see Marco looking out of the plane window where we also notice the rain on the window, the same rain that was pressing along the window of the airbnb the other day.
Marco speaks in a soliloquy about hasty decisions. About not understanding the other. Scene slowly fades to black.
Scene 22: Memoria
Four years later... Boredom starts to set in again for Marco while we see him sitting again working at a new office. He gets a call from his Colombian friend David, and expresses how he wishes things had been different in life. Opens up about CL, and how they didn't spontaneously meet in Bogotá but rather through a chat room online before coming to Colombia (years ago now).
Marco then checks to see if she's been online and it shows he hasn't been on in over a month, seeds disappointment and feelings of listless boredom and being lost again. Flashes back to driving across the night sky with CL and sharing fruit and smiling together at listening to the poem together in bed.
Scene 23: Try Again
Marco tries looking at CL's page again in the evening after work and sees her on. He smiles and decides to create another account, something similar in name but a different name. Marco goes unnoticed in the chatroom, but CL notices and asks if its him.
Immediately, Marco starts typing pouring out his overthinking mind, and CL accepts his apologies and CL and Marco appear to be "cool again". No hard feelings. Marco asks how is it that she is able to forgive so easily? And CL explains that life is short and we shouldn't be hung up about small trivial things.
Scene 24: Begin Again
A short scene of days and days of CL and Marco conversing about all sorts of topics, and then we see CL pause and then proceed to tell Marco that she is going to Brasil for a masters program. Marco is happy for CL for reaching out for her passions in life.
Scene 25: Apaixonado
We hear "Olha Eu Aqui Oh! Oh! Oh!..." by Evinha play while Marco is looking at flights to Sao Paulo at work, dancing in his private office, kitchen/living room, through the park on his walks. Marco starts going to Brasilian restaurants in his city and is listening to live bossa nova as well as vinyl record nights and enjoys and is falling in love with Brasilian music.
Scene 26: Flower Market Talks
We know on the side, Marco sells flowers at the farmers market, and brings up the question to all of his customers a survey, "if you could go anywhere in the world, where would you go?" And then, a friend of the flower stand comes by and asks Marco the same question in retort.
The market friend then encourages Marco to go to Brasil, not to hesitate. Life is short. A blimp. A fog and flash. In a flash, we see Marco typing the words to CL and seeing if she wanted to come to Rio with him if he decided to come to Brasil.
She agrees, but notes on one condition, that nothing happens between them, because she has a boyfriend. Marco makes note of this and agrees.
Scene 27: Changes
Marco gets a call to change jobs (poached from a law firm recruiter)... From there we see him accept the offer and asks for three weeks to adjust before starting the new job.
So we see Marco then book a flight to Brasil and shares the news with CL about the new job, and opportunity to come to Brasil and has booked flights and a place to stay in Rio for a week, Marco ensures CL that he is perfectly okay with just being friends from here on out and respecting her space, initially jokes about sharing a bed but pulls back the joke and notes that she'll have her own room at the Rio homestay.
Scene 28: Revivência
Marco has flashbacks to Bogotá, Marco states in his second sililoquy on the airplane staring out as he is seen flying from his big city in the U.S. to Sao Paulo. In this sililoquy, Marco talks about wanting this trip to be different. He doesn't know how yet, but he doesn't want it to be surface level, but also has no expectations of the moment. We see him walking around Sao Paulo on this sililoquy journey.
Buying a guitar after a night of drinking caipirinhas outside at this corner bar where he could hear the most beautiful acoustic guitar being played with passion by the Brasilian guitarist for an audience of maybe five people.
We finally see Marco's head pressed up on the window of the airplane looking at Rio's landscape.
Scene 29: Cidade Maravilhosa
Marco walks around Rio at night near Lapa's arches, enjoys local music and drinks alone in an alley; walks along Urca's beautiful seaside street at night while motorcycles and lovers and family are all seen together in disparate harmony sitting or standing along the low stone wall. Marco is then seen playing the acoustic guitar he picked up in Sao Paulo alone in the living room of his Rio homestay... Fade out.
Scene 30: Reunião
Fade in... Marco is looking at people play sand volleyball at a nearby beach in Urca when he receives a text from CL that she is getting into Rio. Marco smiles and later on in the evening he notices that she texts him that her phone is about to die but that she is near and will be stopping near a corner convenience store. Time lapse at Praia da Urca until sunset begins to fall.
Scene 31: Abraçando
Marco walks nearby the store and is looking for her and eventually spots her picking up a can soda in the store from afar. He approaches her and when their eyes meet, Marco's shoulders lower in relaxation. They both smile and embrace and she begins chatting to him about her journey in Spanish, a little bit of portuguese so she can practice, and realizing Marco can't keep up, in slow english.
As they approach the homestay, Marco shows off the room, but then realizes their agreement to not sleep together in the same room.
Scene 32: a Doença
The next morning, a morning sickness comes over Marco. Marco is slightly upset at being sick because he can't go to the match later that evening because of his sickness. Unable to get out of bed, CL recommends going to the hospital. Marco is afraid because he has no health insurance that covers abroad, nor any travel insurance. CL takes Marco to the hospital despite Marco's intentions of staying in bed and fighting it alone.
Scene 33: Saúde e Cuidados
CL calms Marco down and his anxiety subsides as they wait briefly for the hospital to assess and receive Marco for a doctoral examination. There is clearly body sweats and aches all over Marco's body... The doctor examines him and notes that if it wasn't for Marco's friend being able to navigate Brazilian portuguese and the hospital system, it would have been slightly more difficult for Marco to receive proper care.
Soon thereafter, Marco asks what do I owe the hospital and CL tells him that he is receiving socialized medicine, and that it is absolutely free of any charges. Healthcare is seen as a right not a privilege. A reflection of dignity.
Scene 34: Uma Longa Caminhada
Amazed, Marco and CL begin their slow walk to look for the local pharmacy, with aches and pains and cold sweats still emanating from Marco's body left in torturous angst. We see from a distance CL translating again at the pharmacy and Marco takes the pills on the side of the street with a bottle of water.
CL is laughing at him and knows he'll be alright. The medicine is strong. CL recommends they take a taxi back and Marco take a nap before the futbol match later on in the evening. Marco still thinks there is no way he'll recover in time for tonight's match. CL tells Marco he'll be fine and when he wakes up, they can get açaí.
Scene 35: The Beautiful Game
Cuts to futbol match for a brief exchange of looks, cheers & smiles, both including walking and leaving the match and exiting through the night; walking along the pier & beach near Urca as people sit by the water.
Scene 36: Capitalismo en Leblon
Cuts to walking on the beach of Ipanema and Leblon. Laying on the beach, being offered iced tea, fruit, volleyballs, umbrella, and cheese sticks, and finally a massage offer by an African woman.
Scene 37: Arbritrage
After the massage – CL & Marco have a chat about being taken "advantage" of from the masseuse. A dialogue about capitalism, global labor arbitrage and geographical arbitrage: where businesses and individuals exploit differences in labor costs, tax laws, or living expenses across different international jurisdictions. Marco proceeds to take photos of CL and the magnificence of Leblon Beach in the background.
Scene 38: Da Casa da Tata
Marco has wandered and tried to find a place for a coffee and CL has taken Marco to Da Casa da Tata, a studio-ghibli vibe with lots of greenery in and outside of the cafe and wooden furniture in a cozy nook feel to it.
Inside Marco and CL immediately love the place and Marco recognizes who Tata (the owner is) and her husband. Marco looks at Tata and before knowing her, asks her if she is Tata, Tata replies, "how do you know me?" and they share a laugh together. They share two small coffees over a chocolate cake. The experience feels like something out of a Studio Ghibli film & Tata asks for us to leave a review, come back and that she loves us already.
Scene 39: Samba before Samba
Marco looks at CL and asks her if she would like to go to Samba the next day (Monday), and CL agrees to come. Cuts to scene walking through Pedro do Sal. The messy, noisy fun of Pedro do Sal. Squeezing by to find a good spot by the empty long square table.
Scene 40: Where You Need To Be
Marco & CL patiently wait for the musicians to arrive. CL lets Marco know that they shouldn't move their position, "sometimes you are where you need to be."
"Even when I don't want to be?" ... "Especially then."
Scene 41: Samba Samba
Musicians start to shuffle in with their cigars, cigarettes, casual nature, and the people surrounding the musicians by the table outside also seem nonplussed. They all look at each other, offer a gentle nod, put down their drinks and rip into the Samba.
Scene 42: Pedro do Sal
You see Marco & CL grooving with the music, old heads singing the familiar tunes, and everyone is doing either dancing, talking along the hilly stone corridor, or drinking caipirinhas.
Scene 43: Si Antes Te Hubiera Conocido
The band steps off and a DJ quickly takes over; playing "I'm Still In Love With You" by Sean Paul... and "Si Antes Te Hubiera Conocido" by Karol G. Marco and CL dance intimately with each other ~ never kissing but locking eyes and closely connect their foreheads together. Eventually end of the song, we see both of them walking off smiling as they weave through the crowds and wait for an Uber to arrive to bring them to their room for a view.
Scene 44: A Boa Vista
Both arrive at the homestay; both agree to enjoy the jacuzzi together, still buzzing and talk about the Samba. Later we see CL staring at the moon and the light its casting over Rio. Marco takes out his camera to snap photos of CL overlooking the moon and the water and expansive view of Rio. CL turns over to Marco and asks him if he would like to take a bath together; Marco agrees to the idea.
But asks CL, "are you sure?" CL says she is sure, but suggests they keep their swimwear on. They head to the bath, gently go inside and close the curtain surrounding the bath. Cut scene as we see candle lights flicker.
Scene 45: The Morning After
Cut scene to the morning at a cafe; both are slightly hungover and CL looks to Marco and asks him if he would like to go to the Botanical Garden . While Marco is taking photography of the cafe and surrounding outdoor patio and of CL, he agrees.
Scene 46: Jardim Botânico
Both go for a walk trying to find the Botanical Garden entrance; intentionally not using GPS or any maps... They find it, but end up on the backside; the guard helps them find the way to the front passageway.
From here we see them both walk into the Botanical Garden.
Scene 47: Errant
Finding the fascination of the many areas of the Garden, we see both characters wander on their own and link back again (can insert music here; something like 'alone in kyoto' by air).
Scene 48: Sensorial
CL poses for some photography shots. CL also tells Marco a story about the flowers on the water and the "Beetle love hotel". Marco discovers a leaf on the ground. Quotes on the bench. Kids exploring the garden on a classroom fieldtrip. We see Christ the Redeemer in the distance.
Suddenly, Marco senses something like gut-intuition response. From here, CL confirms it. It's a tree.
Scene 49: Samaúma
The declaration of a feeling emanating from a tree intrigues Marco. CL encourages him to find and follow the tree, and so he does and comes to see the colossal Samaúma and just takes it in.
His pain, shame, anxiety, depression, and thoughts exhale out of his body and we see Marco begin to breakdown and quietly weep. He sits down at the bench nearby. CL feels and touches the same tree. She then goes back to the bench and we see her weeping.
She asks Marco, "can we stay here?"
Scene 50: Un Flor Para Ti
Cuts to scene where light from the sun is getting darker. Both walk out of the botanical garden; both in somber joyous silence, they walk closely together without holding hands and one going ahead of the other. (a noticeable change throughout the film).
Lights going in and out of the picture and we see CL offering Marco a flower and softly smiling.
Scene 51: o Corcovado
— Early morning.
CL lies sideways on the couch, eyes barely open. She stretches, exhales, and drifts back into sleep.
Nearby, Marco tosses in bed. Restless. Awake long before the day asks him to be.
He sits up, careful not to make a sound. Washes his face. Dresses quietly. The kind of haste that comes from anticipation, not urgency.
As CL turns in her sleep, Marco steps outside and gently closes the door behind him.
Cut to:
Marco hopping into the taxi and looking outside the window toward Christ the Redeemer. Next, we see the line for train up Corcovado. Morning light. A quiet excitement on Marco’s face as he boards the small train climbing the mountain.
At the summit, Marco moves through the crowd with an easy smile, camera in hand. He takes photos — the city below, the curve of the coastline, the open sky. Not rushed. Just present.
He wanders past the gift shop and notices a small makeshift chapel nearby.
Inside, elderly men and women kneel in prayer. Heads bowed. Hands folded. Stillness amid the movement.
Marco pauses.
He watches them for a moment longer than he intends to.
Something about it holds him — the way they lower themselves, the way the world seems to stop around them.
What brings someone to their knees?
He lifts his camera… then hesitates.
A beat.
—
Scene 52: Más fotos de Ti
—
As he comes back down the mountain and enters the home, CL is awake, lying in the backyard hammock. Marco walks through the rooms, not finding her, until he steps outside and sees her shielding her face from the sun, soaking in the warmth of the morning.
Marco sees her — really sees her — and lifts his camera, taking a few black-and-white photos. CL uncovers her face.
CL
Why do you take pictures of me?
Marco doesn’t hesitate.
MARCO
I want to remember this.
(beat)
I want to know that prayers get answered in moments like this. That heaven is already here.
He lowers the camera slightly.
MARCO (CONT’D)
I want to remember what it felt like… before I start asking for it again.
CL watches him for a moment. Then, gently:
CL
Maybe you don’t need the camera.
(beat)
God isn’t in the glass.
She settles back into the hammock.
CL (CONT’D)
You don’t have to leave to pray.
Cut to black.
Scene 53 - La Casa Da Tata (Revisited)
CL and Marco go back to La Casa Da Tata and are warmly welcomed by Tata herself. She decides to give them a breakfast they both won't forget. And as each other both know their time is waning and this is the last day, they savor the breakfast and write to each other notes for the other person.
And before they leave, Marco asks her about her cam name and where it came from. CL tells him that she loves Clarice Lispector and her writing, especially "The Passion According to G.H.". and in truth, she feels a lot of what Lispector writes about and how it has stayed with her over the years. She laments at the fact that you can know so much about someone, but like all human constructions; they keep us from knowing the true and nameless self. Albeit, because of our fleeting memory as words from images separate like ripples on a blank shore... One of the lasting things that will stay with you is simply "seu nome" = your name.
In the end, unceremoniously, CL tells Marco her real name and looks at him unabatedly. They touch foreheads and Tata reemerges with a smile in between them and asks for a hug before they go.
Scene 54 - Abrazos
They are in the cab together and Marco asks to stop at Leblon one last time, gets an empty water bottle and fills it with the sand for his mother.
They are both smiling and tears streaming in the cab ride together as they are approaching the aquarium to drop off Clarisa.
In the end, they embrace one last time.
Scene 55 - Fin
We see Marco in the cab ride continue to the airport and the narration of what Clarisa wrote about her encounter with him.
There is a crossroads where Marco gets dropped off and the time stops on the arrow and no one notices, everyone seems to be occupied with their phones or of the like. But Marco decides to keep walking.
Fade to black.
Cue "Reckoner" by Radiohead.