Eduardo Dias da Rocha compares carnival in Venice to carnival in Recife, trying to catch differences and similarities. His intention is to show visible forms rather than purely conceptual contents. However, it is exactly in this confrontation that lies a deeper proposal than simply visualizing.  He opposes the images of the humble reality of Recife to the artificial and consumist carnival in Venice. Concerning the figurative aspect, the choice is based on evidences when the photographs of Venice and the similar framings of Recife are showed side by side in a serial and continuous counterpoint. The intention of making the comparative work easier is clear. A nobleman in a rich, but uncommon renascentist costume poses on a Venetian bridge. The next photo shows a boy in a long and large T-shirt with a drawing of human skeleton, also posing on a bridge of the Brazilian city. A girl with an enigmatic "leonardian" smile is showed in the foreground in one of the Venetian photos, while thenext picture shows a ballerina in a pompous fancy dress adorned with plumes, contrasting inaction and movement, slow and fast rythm. From this confrontation it is possible to deduce that carnival in Recife is less sophisticated and rich, as far as dresses and masks are concerned, however it is in Recife that we can find a polimorfic participation, vitality and the presence of the original significance of paganism, that celebrates the spirit of the dead to evoke the coming spring in the course of nature which represents the origins of carnival. Eduardo Dias da Rocha has na attentive and selective photographical eye. He is attentive to what happens and is also interested in the formal aspects of the images. He knows how to choose the important moments in the narrative, concentrating on the foregrounds and on the situations. It can be noticed by the alternate use of portraits and figures in wide angle. He knows how to use formal cuts, as in the picture of the Venetian mantle in the foreground with long feminine eyelashes coming out of it to formally revive the narrative. The author succeeds in transmiting the surreal qualities of carnival, making use of resources and images to emphasize the choice of the objects as can be noticed in the last photo (15 and 7). For these peculiar characteristics, the series of images proposed byEduardo Dias da Rocha is better presented as an anthropological question than as photojournalism. He puts his efforts in rescuing the authenticity hidden by the consumism that levels the social customs.  Massimo Mussini