Actors: Diogo Bento; Jorge Andrade; Bruno Silva; Arlindo Silva; Diogo Bernardes; Paula Sá Nogueira; Patrícia da Silva; André e. Teodósio; Vasco Araújo; Cláudia Jardim; Rui Cunha Martins; Francisco Rolo; Nuno Nolasco; Joana Barrios; Rita Só; João Abreu

Voice: Francesco Troisi; Irene Pomatto; Maria José Chousal; Pedro Faro; Rafael Esteves Martins; Matilde Menezes Ferreira; Laura Ward; Tomás Frazer; Luís Estarreja
Texts: Based on the works Die Geburt der tragödie oder Griechertum und Pessimismus by Friedrich Nietzsche; Pensar o Trágico by José Pedro Serra; O Demónio das imagens – sobre Aby Warburg by António Guerreiro; Poesia Completa by Luís Miguel Nava; Plantation memories by Grada Kilomba; Metamorphoses by Ovídio
With original texts by Rafael Esteves Martins; José Maria Vieira Mendes; Diogo Bento

Paintings: Paintings reproductions on posters by Bronzino; Lotto; Rafael; Moroni; Ingres; Pompeii Frescos

Still life paintings: Natura morta con vaso di fiori tombada, Mario Nuzzi (1640); Stilleven met gouden bier mok, Willem Claesz Heda (1634); Bodegón con entrega de membrillos e uvas, Juan de Zurbarán (1645); Srilleven met boeken en zandloper, Anonymous; Bodegón con alcachofas, frutas y tarros de tlavera con flores, Antonio Ponce (1657); Pauw en jachttrofeeën, Jan Weenix (1708)

Music: Original music by Pedro Monteiro based on Electra by Richard Strauss; Adriana Lecouvreur by F. Cilea; Piano arrangement of excerpts from the opera Electra by Richard Strauss, performed by Pedro Monteiro; Piano arrangements of excerpts from the preludio of the opera Adriana Lecrouvreur by F. Cilea, performed by Pedro Monteiro; Final credits song performed by Pedro Monteiro and Tânia Carvalho

Pathosformel is an interdisciplinary work/film, both in form and content. Through scenes and episodes, a look at the historical past is interconnected, using figures from Greco-Roman mythology in order to reflect on the human condition. In Pathosformel (Aby Warburg's concept), which, as the name suggests, evokes the experience of suffering through empathy. At the center of the work is the idea of ​​crisis understood as a fracture, a disharmony. This, so to speak, collapse, foreshadows a radical and decisive "experience", where no internal or external element, not even the end from the beginning by the unfortunate title, is guaranteed. The emphasis is not placed on the result, but on the process, on the development of the experience. The work is not an "inviting" bed where the patient is cuddled to die. Therefore, a distancing from the superficial brightness of the “fall” or an aesthetic anemia of decay and death is required. It is as a risk, combined with the very idea of ​​crisis, that, above all, this work presents itself. The film structure is a sequence: of episodic actions united by a global scene; and intertitles that, despite being aligned by a chain of cause and effect, do not form a narrative progression, therefore the audience is confronted with a truncated narration, suggesting then a crisis of a narratological nature. The entire structure focuses on verbal action, imaginary violence, psychological emotions and the exaltation of feelings, to also reflect on how to bear the pain caused by forces beyond individual control: the loss that can never be recovered; the irreversibility of time; or, still, a reflection on the Human, his destiny and his life.