The search that DocLisboa programmers have been doing in recent editions is in the sweet point in 2015, edition that runs from 22 October to 1 November. Here everything always wanted to do with the festival and had never afraid to experiment.
Cintia Gil, Davide Oberto and Tiago Afonso, who on Tuesday presented the program at Culturgest in Lisbon, speak of a “very complex relationship with reality” as a common denominator to films chosen for this edition – a festival dcdocumental, movies are “film and not just documentary”, thus implying that the filmmakers say their formal devices assertively without characterization of concerns and standards. And so the DocLisboa remains a dialectical relationship with viewers. – “That increasingly have access to the discourse, knowledge” of the transformations that occur in the documentary film
“Somehow, it was always this that we were looking for. “- sums up Cintia Gil
” This “is what we can see, she agrees, they agree as early as the opening film, Bella and perduta , Pietro Marcello (the director of La Bocca del Lupo , 2009 saw the IndieLisboa). Participation in international competition, is a synthesis of what is going to happen in the days that follow. Having started off as a film about the story, true, a peasant who sought to save a country house of ruin, and having become, with the death of peasant during the shooting, a fable, with the director having to reinvent film Bella and perduta says Cintia Gil, is anchored in an Italian and rural context, but the charge “romantic and poetic seem to be the most rigorous way to look at reality.”
We will continue in rural Italy and the Romanesque, the ghostly and fantasy in Il Solengo, Alessio Rigo de Righi and Matteo Zoppis: the discovery of places and traditions of Italy rustic, little known and the path of the disappearance, is made anchoring-(best: up losing) a legendary dimension figure, a man who refuses to live with others. In rural Russia, the head of a huge family decides to shoot the Little Prince , Saint-Exupéry, with the camera he bought with money from pension … were two years of work … and The Little Prince , Olga Privolnova, is the picture of a human and social geography decaying. The “interview documentary” – gender that television trivialized – reunited with the possibility of strength: that MyTalk with Florence, Paul Poet, or the story of a lifetime, 50 years narrated by a survivor, Florence Burnier-Bauer. Daughter of the bourgeoisie fled dysfunctional and violating family, to meet, she and the children in the street and between crime, and ultimately seeking refuge in the counterculture – the sect and the village of Otto Mühl, where the cycle of violence, abuse resumed
These are some of the 20 titles in the international competition, which will still be the Portuguese’s Glory Do Cinema in Portugal, where Manuel Mozos invents a past movie buff to the writer José Regal. – documentary about what might have been … The jury in this section is formed by Eva Sangiorgi, director of the International Film Festival at the University of Mexico, Haden Guest, director of the Harvard Film Archive (is writing a critical history of Portuguese cinema after the 1974 Revolution), Hartmut Bitomsky, director, screenwriter and producer, and Karpo Godina, photography director and teacher
It’s the same parameters. – complexity and assertive formal statements – which measures the National Competition . “Very strong” this year, according Cintia Gil: Wake up, Leviathan by Carlos Conceição, Rio Corgo , Sérgio da Costa and Maya Kosa, Vila do Espraiada Conde, Miguel Clara Vasconcelos – fiction and autobiography), Où est la Jungle, Ivan Castiñeras Gallego, Raimundo by Paulo Abreu, Setil, James Siopa , Maybe Desert, maybe Universe , Miguel Seabra Lopes and Karen Akerman (psychiatric confinement filmed from a place of proximity to “patients”; second Davide Oberto, is “a film apparently cold, but incredibly delicate “), and Portugal – One Day at a Time. This, collaboration between director John Canijo and Anabela Moreira actress, is a road movie the villages of the interior of Portugal, Tras-os-Montes and Alto Douro, portrait of people and places where, says Tiago Afonso referring to the violence of the social daily life that the film abeira, “the characters are not disregarded but are not defended.” Cintia Gil even proposes a “conversation” of opposites: Portugal – One Day at a Time and One Thousand and One Nights, of Miguel Gomes . Whatever it is, this is the result of a year Anabela Moreira travel through the interior of Portugal. Whatever it is, the 155 minutes version presented in Doc is just a part of a television series, 12 x 50 minutes, the only chance to cover all the material that was filmed in order to confront the reality with the idyllic descriptions of a Guide to Portugal.
The jury of this section consists of Christopher Allen, artistic director of UnionDocs, center for the art of documentary, in Brooklyn, Eloy Enciso, professor and filmmaker, Jasmin Basic, film historian.
As previously disclosed, a cycle on terrorism representation in cinema is one of the weapons of the issue. Come to be thought by programmers three years ago was triggered by 39 minutes of film, three lines of dialogue, and 18 killings in the streets of Belfast, Northern Ireland, Elephant , Alan Clarke (1989 ): the cadence plans that are repeated, is a back to basics of acts of violence, rituals and iconography waiting for what might trigger the room. “We are in a new wave of exuberance that word [terrorism]. But also regulation of the term ‘terrorism’ in the legal systems of the various states for placing a sense of the word, “said Cintia Gil when he announced the PUBLIC Terrorism, Representation. Which will show films of Holger Meins and Ulrike Meinhof (were far-left militants in the 70s, the Baader-Meinhof group, were filmmakers, threw bombs, made films) and the state of play, hot, tempted by the New German Cinema ( Kluge, Fassbinder, Schlöndorff, Reitz, among others) and is called Germany in autumn (1978) .
inda , The State I Am In , the first film to the big screen by Christian Petzold ( Phoenix ), story of a couple of former terrorists who see your outfit 15 years being exposed by daughter ; United Red Army , Koji Wakamatsu (2007), three hours to explain the Japanese student radical movements of the years 1960/1970; Colpire al Cuore (1982), Gianni Amelio, title part of an expression of the revolutionary phrasing of extreme Italian left the 70s and 80s – hit the heart of the capitalist state – to tell the story of a blow to the family heart: a son delivers his father (Jean-Louis Trintignant) the police (the relationship between a father, industrial, and his son who was abducted – victims of the Red Brigades or instrument of them – also at the center of the biggest film of Bernardo Bertolucci, The Tragedy of a Ridiculous Man 1981).
One of the risky bets for this edition is the retrospective dedicated to the Serbian Želimir Žilnik, a filmmaker whose work is born with the student uprising in Czechoslovakia, after the Soviet invasion in 1968 is faced with censorship in Yugoslavia and follows the territorial reconfiguration, with the Eastern implosion. Programmed by Augusto M. Seabra (critic PUBLIC), the Risk section will radicalize their assumptions: the real fictions, self-portraits, working on the file and the found footage . One of the events will be the exhibition Five Year Diary (1981-1997), of the “Files” left by Anne Charlotte Robertson (1949-2012), who faced mental disorder with the help of Super 8 : exposure therapy, catharsis and the existence …
“There is no movie here who does not speak of life No film here is inaccessible.” says Cintia Gil, when speaking of risk and. pleased to “stretch the string” a schedule. They say that all programming is an exercise of freedom. And that pleasure is a form of generosity to the public.
