Let’s for a moment, forget the easy dichotomies and look at the Port / Post / Doc in time of the second edition, just for what it is: a film festival that wants attentive to new ways of what is done in the documentary and contiguous areas. Much of that will show this-Tuesday December 8 at the Rivoli and Manuel Passos (with specific extensions to space Bad Habits) has not been shown in Lisbon, underlining how the enormous wealth of so-called theaters (the lack of a better definition ) “real” is enough to feed two complementary festivals. (And we are not being unfair to say that the path taken by the new Porto event is in part possible by “risk” opened by DocLisboa over the past few years.)
Inevitably, there will be overlaps – as this year with the presence of the diptych formed by the last film by Chantal Akerman, At Home Movie (this Tuesday 1, 22:15, Passos Manuel), and by the remarkable documentary that Marianne Lambert dedicated to Belgian director , I Do not Belong Anywhere (Thursday 3, 10 am, Rivoli); or the last work of veteran Frederick Wiseman, in Jackson Heights (Tuesday 8, 19h, Manuel Passos). But some of these overlays allow pay due attention to films that were lost or forgotten in other festivals programs.
This is the case of The Event , superb assembly work performed by Sergei Loznitsa from images collected in the Russian State Archives (1 this Tuesday, 22:30, Rivoli, 4 and Friday, 16:30 Manuel Passos). Presented briefly in a special session at Doc, The Event is a visual story of the attempted coup of August 1991 through footage shot by imaging reporters and documentary filmmakers. The images of crowds in Leningrad streets (now St. Petersburg) respond to the previous film director ( Square , 2014 on the events of Maidan square in Ukraine) but also echoing the Arab Spring, the square Tahrir, the #occupy and related movements. – twenty years in advance
It is also the case of the beautiful Wolf’s Lair Catherine Mourao (fifth 3, 15h, Rivoli , and Sunday 6, 19h, Passos Manuel), fascinating object on the relationship from one country (Portugal) with your memory, embodied in the research director of the grandfather himself, the writer Tomás de Figueiredo, and how this research reveals shadow lines in your family history. The Wolf’s Lair came out empty-handed from the IndieLisboa 2015 and is one of the highlights of a high-level competition, attentive to the most remote and challenging corners of the actual film. Several of the strong bonds they see debut with us in Porto, by the way, are installed breast done in formal documentary borders.
Who remembers the harrowing portrait vérité of China wronged lost in a Kafkaesque bureaucracy of Petition , DocLisboa 2009 winner, may not recognize their director, Zhao Liang, in precise and allegorical formalism of Behemoth (fifth 3, 22:30, Rivoli, and Sunday 6, 16:30, Manuel Passos). Arising from the 2015 Venice main competition, is a tour de force look on the over-exploitation of natural resources in Inner Mongolia in the name of progress, mixed materialistic dystopia apocalyptic, lyrical meditation on the inspired human nature by Divine Comedy Dante and the trilogy Qatsi Godfrey Reggio. Behemoth is, however, perfectly in tune with the look without complacency of people like Wang Bing and Jia Zhangke on the human consequences of the “great leap forward” economic colossus of the East.
In another register, more near the large thrillers American politicians, we find Cartel Land ( 3 fifth, 16:30 Manuel Passos, and Sunday 6, 22:30, Rivoli). The film Matthew Heineman – sponsored by Kathryn Bigelow, the director of The Hurt Locker and The Dark Time 00:30 – is, however, a nervous and urgent documentary, debating the “war against drugs” through the contrast between two guards militias. On one side of the border, the Arizona Border Patrol Recon the line between the state of Arizona and Mexico to prevent a chimerical installing on American soil cartels; on the other, the Autodefensas Michoacan seeking to rally around itself the inhabitants of areas controlled by cartels to drive them out and resume a normal life. Filmed over more than a year, Cartel Land does not make moral judgments, but it raises fascinating questions about the meaning of democracy and justice in areas (metaphorical and physically) “frontier”.
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