SYNOPSIS

Rangoon, Burma, 1917. Edward, a civil servant for the British Empire, runs away from his fiancée Molly the day she arrives to get married. During his travels, however, panic gives way to melancholy. Contemplating the emptiness of his existence, the cowardly Edward wonders what has become of Molly… Determined to get married and amused by Edward's move, Molly follows his trail on this Asian grand tour.



DIRECTOR’S
BIOGRAPHY

MIGUEL GOMES (Lisbon, 1972) is a Portuguese film director. Grand Tour is his 6th feature, with world première in Cannes Film Festival’s 2024 Competition. Gomes directed several short films presented and awarded in international film festivals. The Face You Deserve (2004) was his first feature. His next features Our Beloved Month of August (Cannes' Director's Fortnight 2008), Tabu (Berlinale Official Competition 2012: Alfred Bauer and FIPRESCI awards), Arabian Nights (a film in three feature parts, Cannes' Directors' Fortnight, 2015) and The Tsugua Diaries, co-directed with Maureen Fazendeiro (Cannes' Directors' Fortnight, 2019), confirmed his international success and projection. Gomes is presently working on Selvajaria, based on a book by brazilian author Euclides da Cunha and Cantiga, based on a graphic novel by french ilustrator Blexbolex. Retrospectives of Gomes' work took place in Austria, Italy, Spain, Germany, Greece, USA. He received a Career Award at Laceno d’Oro Film Festival (Italy, 2016). Miguel graduated in Film from the Lisbon Film and Theatre School and worked as a film critic. He lives in Lisbon.



DIRECTOR’S
FILMOGRAPHY

2024 Grand Tour
2021 The Tsugua Diaries
2015 Arabian Nights - Volume 1, The Restless One
2015 Arabian Nights - Volume 2, The Desolate One
2015 Arabian Nights - Volume 3, The Enchanted One
2013 Redemption
2012 Tabu
2008 Our Beloved Month of August
2006 Canticle of All Creatures
2004 The Face You Deserve
2002 Kalkitos
2002 Thirty-One Means Trouble
2000 A Christmas Inventory
1999 Meanwhile

COMMENTS OF
THE DIRECTOR

January / February 2020. The plane lands in Rangoon on the third day of the new decade. I leave the airport accompanied by the scriptwriters. We have written nothing yet but we have already planned the route the characters in the film will take across southeast Asia. We are going to take this same route ourselves, before returning to Lisbon to write the screenplay.

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We also want to film the route in 16mm, to create a record of the journey that we can use in the film. It will be a kind of found footage of the present providing a link with what happened in the past, in 1918, in an imaginary Asia recreated in the studio. It is less about managing the discontinuity between two different time periods as about creating continuity between the studio and the world, between 1918 and 2022, bringing to life a unique cinematographic time sequence through editing. We feel it is better for the spectator to believe of their own accord than for the cinema to convince them of something.

In five weeks we went from Myanmar to Singapore, we crossed Thailand, flew to Vietnam and from there we moved on to the Philippines and then through Japan. When we were getting ready to board the ferry in Osaka for Shanghai we found it had been cancelled. An inexplicable epidemic in China brought the journey to a halt. We returned to Lisbon thinking we would quickly resume our travels.

January 2022. Tired of waiting for the Chinese to end a ‘zero Covid policy’ and open up the borders, we decided to continue shooting using the most surreal of methods. Remote filming. There are four of us in Lisbon and every day we enter a rented house around midnight. Thousands of kilometers away and in another time zone, the Chinese team will travel the three thousand five hundred kilometers required to complete the journey begun two years before. This last stretch begins in Shanghai and ends in Sichuan province, very close to Tibet.

The technology we have on a table in the house in Lisbon serves as our eyes and ears when filming. A screen transmits images taken on the assistant director’s mobile phone, and this gives me a wide-ranging view of each location. On another screen I have a video signal from the 16mm camera we use for filming. On the computer we have two more communication systems, one audio and the other written, just in case something goes wrong.

Strangely enough, very little goes wrong. I can always manage to position the camera and direct the scene as if I were there on the set, whispering in the camera operator’s ear. I can call for action or cut, or I can ask for real-time panoramic shots. I can even intervene to include features that were not planned in upcoming scenes. Like the day when the Chinese team said that the owner of the restaurant where they went for lunch had begun playing the guitar for them. I asked them to invite him to the boat where we were going to film and if he could play in front of the camera. It really amazes me to think that everything can work so well this way. It challenges Rossellini’s deep-rooted convictions and Herzog’s impulses. But I’m not complaining.

February / March 2023. A week and a half filming in a studio in Lisbon, two and a half weeks filming in a studio in Rome. Enormous teams, numerous actors. Quite a contrast to the way I’d filmed up until then. No sunlight shining on the set and no one walking in front of the camera unless asked to do so. 

To my mind, having total control over filming conditions is like a straight jacket. As usual I refuse to plan scenes prior to the day of filming. Cinema is made in the here and now; at least for directors that do not have Hitchcock’s talent. I’m told that without this detailed preparation the technical crew will not be pleased, and we also risk wasting too much time. Bullshit! The team is happy, and so am I. We are reinventing the world every day, and working together. On 30 film sets: bamboo woods in China, forests in Thailand, snow-covered temples in Japan, palaces in Bangkok, Burmese ports, grand houses in Vietnam, bars in Singapore, boats on the Yangtze river…. all without a single digital trick. What incredible energy on the set!

Capturing this spectacle of the world and radically reinventing the world in the studio. Moving from one thing to another. We have covered many thousands of kilometers to film it all, but what is truly the  Grande Tour of this film - is that it unites what is separated. 

Miguel Gomes

December 2023

in Cahiers du Cinéma, Janvier 2024, Numéro 805
Translated from the original


MAIN CAST
BIOGRAPHY

Crista Alfaiate
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Born in Lisbon in 1981, Crista began her artistic education at the University Theater Group at the Literature University with Ávila Costa. She did a Workshop on Performance with Patrícia Portela and, in 2004, she completed her acting education at the National Theater and Film School in Lisbon. She furthered her studies at the Stella Adler School of Acting in New York. There, she held a scholarship for Inov-Art, in 2011 with the theater companies Elevator Repair Service and Wooster Group. In 2021, Crista completed a Postgraduate Degree in Writing Arts at Nova FCSH University. Crista participated in the European project École des Maîtres in 2013, with Contanza Mackras. In 2015, she participated in the show Softcell, with the Gothenburg Contemporary Dance Company, created by Constanza Makras. In 2016, she created and performed Animenos at Maria Matos Theater (a text by Rita Taborda Duarte). In 2019, Crista created and performed Niet Hebben, participated in the show We’re Gonna Be Alright with Teatro Cão Solteiro; Selvageria by Filipe Hirsch in São Paulo, Brazil and Cinderella created by Lígia Soares. Crista was involved in various projects as an actress, including: Mala Voadora with Jorge Andrade; Casa e Jardim with Miguel Loureiro and André Guedes; Solene Resgate with Ricardo Neves; Caça e Pedra with Rogério de Carvalho; Quarteto and Esta noite improvisa-se, with Jorge Silva Melo; O nosso desporto favorito with Gonçalo Waddington; Cabeça de pregos with João Brites; Subterrâneo, a dark musical co-produced by Mácriação and Foguetes Maravilha; Ensaio de Orquestra by Tonan Quito and Filipe Melo, among others. Crista also participated in different musical projects, such as Oba Loba, Secret Museum of Mankind, Silence is a Boy and Cacique 97. In cinema, Crista’s notable appearances include the following feature films: The Sword and the Rose by João Nicolau; 4 Hearts by Manuel Mozos; A Film Like This by João Botelho; Arabian Nights, The Tsugua Diaries and Grand Tour by Miguel Gomes and Human Nature, a short film by Mónica Lima.

Gonçalo Waddington
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Gonçalo Waddington is an actor, director, playwrighter and screenwriter. As an actor, he has appeared in films by Miguel Gomes, Marco Martins, Margarida Cardoso, João Canijo, Tiago Guedes and Ivo M. Ferreira, among others. At the same time, Waddington is a writer and theater director. He has directed a feature film, PATRICK, that premiered in the Official Competition of the San Sebastien Film Festival in 2019, and two short films: IMACULADO, which he wrote and produced, premiered at the IndieLisboa Festival 2013; and NENHUM NOME, premiered internationally at the Festival de Cine Las Palmas de Gran Canaria and winner of a Special Mention at the IndieLisboa Festival 2013.

Cláudio da Silva
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Cláudio da Silva was born in Huambo, Angola, in 1974. He has a degree in Applied Foreign Languages ​​(Catholic University of Portugal - 1992/97) and a Bachelor degree in Theater (Superior School of Theatre and Cinema, Lisbon - 1999/2002). In theater, he worked with Teatro Praga, Miguel Loureiro, João Fiadeiro, Miguel Pereira, Jorge Silva Melo (Artistas Unidos), Rogério de Carvalho and Nuno Carinhas (Companhia de Teatro de Almada and Teatro do Bolhão), Pablo Fidalgo, Teresa Gafeira, Ricardo Aibéo, Zia Soares (Teatro de Griot), Mário Trigo, Madalena Vitorino, Jean-Paul Buchieri, Inês de Medeiros, Carlos Pessoa (Teatro de Garagem), Emmanuel Demarcy-Mota, Ana Borralho and João Galante, Nuno Cardoso, Rita Natálio, João Samões, Lígia Soares, Gonçalo Amorim (Teatro Experimental do Porto), Manuel Wiborg and António Pires (Teatro do Bairro). He co-directed Debaixo da Cidade with Manuel Wiborg. He staged My Blackie by Arne Sierens for Artistas Unidos and Felizmente Há Luar by Sttau Monteiro for TEP. Cláudio co-created Teatro Fantasma, with Carla Bolito, O3 with Pedro Nunez, Woyzeck, fuk’em ol! with Carolina Dominguez and Pedro Paiva, and Morto o Cão, Acabou-se a Fúria – a vida of Luiz Pacheco with Carolina Dominguez and Pablo Fidalgo. He’s also the creator of Poeta Armando. In cinema he worked with Solveig Njordlund, Jorge Cramez, José Pinto Nogueira, António Borges Correia, Luís Galvão Telles, Luis Filipe Rocha, Miguel Gomes, Sandro Aguilar, Ico Costa, Paulo B. Menezes, Paulo Abreu, Patrick Mendes and João Botelho. He participated in the following TV series: Inspector Max, Freedom 21, Ten, Aqui Tão Longe, Tell Me How It Was and Glória; and in the soap operas Terra Brava (SIC) and Para Sempre (TVI). He received the SP/RTP Award for Best Film Actor for his role in João Botelho's Disquiet (2011) and the Globo de Ouro SIC/Caras Award for Best Theater actor for his performance in Se Isto é Um Homem by Rogério de Carvalho (2021). He collaborates with the Cultural and Ecological Association Palettentheater Kollektiv.

Lang Khê Tran
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Born and raised in Paris with Vietnamese roots, Lang Khê TRAN studied theatre and cinema at La Sorbonne, complemented by a year of applied arts studies before starting modeling in France and London, collaborating with brands like Lancôme or Chanel. Her acting debut with a female lead role alongside Gaspard Ulliel, Gérard Depardieu, and Guillaume Gouix happened in Les Confins du Monde, a movie about Indochina war, earning the film a selection at the Cannes Directors’ Fortnight.

MAIN
CAST

Crista Alfaiate
as Molly

Gonçalo Waddington
as Edward

Cláudio da Silva
as Timothy Sanders

Lang Khê Tran
as Ngoc

MAIN
CREW

Director: Miguel Gomes
Script: Mariana Ricardo, Telmo Churro, Maureen Fazendeiro, Miguel Gomes
Director of Photography: Rui Poças AIP ABC, Sayombhu Mukdeeprom, Guo Liang
Assistant Director: Patrick Mendes
Continuity: Telmo Churro
Production Designers: Thales Junqueira, Marcos Pedroso
Scenographer: Babi Targino
Casting Director: Maureen Fazendeiro
Casting Coordinator: Filipa Falcão
Costume Master: Sílvia Grabowski
Make up: Emmanuelle Fèvre
Hair Dresser: Daniela Tartari
SFX Coordinator: Elio Terribili
Editing: Telmo Churro, Pedro Filipe Marques
Sound Engineer: Vasco Pimentel, Li Kelan
Sound Designer and Mixer: Miguel Martins
Colorist: Yov Moor
Producer: Filipa Reis
Co-producers: Marta Donzelli, Gregorio Paonessa, Thomas Ordonneau, Tom Dercourt
Associate Producers: Viola Fügen, Michael Weber, Holger Stern, Meng Xie, Kei Chika-Ura
Executive Producer: João Miller Guerra
Delegate Producers: Patrícia Faria, Serena Alfieri
Line Producer: Catarina Alves

TECHNICAL
DETAILS

Original title: GRAND TOUR
International title: GRAND TOUR
Duration: ca. 129 min
Aspect Ratio: xxx
Format: DCP
Sound: 5.1
Year: 2024
Original languages: Portuguese, Chinese, Thai, French, Burmese, Vietnamese, Filipino, Japanese
Countries of production: Portugal, Italy, France
Production Companies: Uma Pedra no Sapato
Co-production Companies: Vivo film, Shellac, Cinéma Defacto
With the support of: ICA - Instituto do Cinema e do Audiovisual (PT), Fundo de Apoio ao Turismo e ao Cinema (PT), RTP - Rádio e Televisão de Portugal (PT), Creative Europe - Media of the EU, Ibermedia Development , Creatps (JP), Rediance (CN), MiC - Direzione Generale Cinema e Audiovisivo (IT), Regione Lazio (IT), CNC - Centre National du Cinéma et de l'Image Animée (FR), La Région Provence-Alpes-Côte d'Azur (FR), ZDF-ARTE, The Match Factory (DE), Eurimages - Council of Europe

INTERNATIONAL
PRESS

WOLFGANG W. WERNER
PUBLIC RELATIONS

Christiane Leithardt & Wolfgang Werner
www.werner-pr.de

Wolfgang Werner
cell +49 170 333 93 53
werner@werner-pr.de       

Christiane Leithardt
cell +49 175 588 80 86
leithardt@werner-pr.de