简介：Duringaflight,passengersconfronttheiraspirations,frustrations,fears,wishesandfears,mixinguprealityandfiction. Severalcharactersboardaplane:asoccerteam,afootballmanager,adecrepitoldman,agroupofnunsandanadvertinsinggirl.Dreams,delusions,ideasandconcretesituationsrelatedornotanindividualtoanother.Archivescenesofwar,famineandreligiouspilgrimagesinterleavetoamythicalwomanNature. fiction,35mm,pb,95min,basedonsequencesinthechapter"Odelírio"of"MemóriaspóstumasdeBrásCubas"deMachadodeAssis. FernandoConyCampossupportedoriginalityinartisticcreation.Heconceiveditintermsofproposal,perspective,viewpoint,style,meansandwhatevercouldhelpformadistinctivevision.AspersonalitieslikeJean-LucGodardorGlauberRochahademerged,itwasuptothefilmmakertoseekanalternatepathtotheirs,thoughhemightfallshortwiththepossiblegenialityofeither. Thispropositionalonewouldenableustobringhimclosertotheexperimentalsensitivitywhichwouldeventuallyexplodeattheendofthe60s.Thecontactpoints,however,exceededthemerelysharedprinciples.Althoughlargelyaresultofapoor,long,fullofsetbacksproduction,“VoyagetotheEndoftheWorld”alreadyhadinthemidstofitsoriginaldesignelementswhichdistinguishitasoneoftheimmediateprecursorsof“Udigrúdi”.Particularly,theoverlappingofvariouslevelsofenunciationandofvariousformsofcontemporarylanguagegraduallydestroystheideaofanarrative,evenasophisticatednarrativeastheonepresentedbytheNewCinemadirectors. Furthermore,iftheideologicaluniverseofthefilmstillenablesitsinclusioninthegroupoftheNewCinema,there’sarefusaltopurelyandsimplycondemnthemeans(ormedia),astheyareawayfrommassculture.Counterculturemaybealienated,butitisexpressiveinitsconstituentsandparticularlyindicativeofastateofthings.Politicaldisillusionmentcoexistswiththechaosoftheinevitabletransformation.Notsurprisinglydoestheworkdevelopfromthecasualmeetingofapocketbookof“PosthumousMemoirsofBrásCubas”atanewsstandandcontinuesincorporatingfascism,consumption,mysticism,poverty...and,inaninnovative,emblematicway,”Tropicalism”(thefilmisfullofthatmovementclassics"Joy,joy","SoylocofortiAmerica"and"Tropicália".) Atsomepoint,youhearapossibleself-definitionofthework:"Thebiggesterrorinthismovieisyou,youviewer.You’reinahurrytogrowold.Andthefilmgoesslowly.Youlovethedirect,nourishednarration.Theregular,fluentstyle.Andthisfilmandmystylearelikecypresseswhichturnleftandright,moveandstop,mumble,bicker,laugh,threatenthesky,slipandfall.Andtheyfall."…