Miguel Dias remembers, through laughter, the boutade that one of his co-directors cited a few years ago on the subject of Short Vila do Conde, “the first summer festival,” a occasion that competed more with music and summer events than properly with other film festivals. “When they said it, meant that the festivaltenta go beyond the cinema, exploring its limits without escape from it,” says one of the directors-ever event at the Vila do Conde phone while last preparations for the edition 2016 which starts this Saturday and runs until the 17th at the Municipal Theater of that northern community. “We felt always interesting to explore these limits on exposures in some proposals trial competition, or from the plastic arts began to use the image and video as key tools.”
In 2016, however, the idea Short of being a “summer festival” seems to have more reason for being than ever. After the “impact” of a whole new generation of filmmakers who became known as “Generation Short”, the celebration of 20 years in 2012 with an ambitious film production program, the national premiere of the trilogy Arabian Nights Miguel Gomes in 2015, the year 24 of the Short is the music that comes forward through the Stereo concert film program – are no less than eight-concert films, led by Tindersticks phenomenon, with two concerts already sold out (Wednesday 13 at 20h00 and 22h30).
If the musical side is the “media” edition 2016 Short is far from exhausting the event and its attention to new ways to shoot, count and think the movies. Miguel Dias explains how Short was always “an attempt to be the story of the unknown cinema”, referring to the dimension “secondary” and experiences of laboratory trend that the format of the short ever had. “We began by wanting to legitimize gender, short film, through the display of the classic examples, demonstrating that even the great directors began to work in short. Today, this legitimacy is no longer necessary, but we continue to find interesting dialogue between past and present. That is why, in the presentation text of this year spoke of being ‘at the forefront of cinefilia’. We are a cinephile festival, and we took an important step by a new section attentive to audiovisual trials “
This new section, under the generic All the images memory. – The Audiovisual trial, betting a format that has gained strength in blogs and online review sites and in academia, small mounting films using images and film clips for the purpose of academic analysis or criticism. The Short was always aware of the phenomenon – one of the pioneers of fashion, Mark Rappaport, is a regular – but this year the festival gives you another force, framing it in workshop on film criticism, and supplementing it with the continued work of lost images recovery history of Vila do Conde and the “carte blanche” program for filmmakers João Pedro Rodrigues and João Rui Guerra da Mata.
Days speaks of the desire to “be a kind of the Vila do Conde motion picture file”, which is already integrated previous projects commissioned by the festival in more experimental or fictional tunes, such as the Glory Do Cinema in Portugal Manuel Mozos and Vila do Conde Espraiada Miguel Clara Vasconcelos. This year recovers the movie Ricardo Costa, E Sea Born … (Sunday 10 to 17h), shot in 1977 in the fishing community of Caxinas; a “time capsule” of a cooperative experience that reflects on the days of words, “political utopias” of the time it was made.
As for the “carte blanche”, “is something that we’d like to do more often, because it pleases us to discover and share senile complicities of directors. ” The choice of Rodrigues and his creative partner Guerra da Mata, declined in three sessions (Wednesday 13 and Saturday 16 at 23.30, and Friday 15 at 21:45), extends the dialogue between past and present that Miguel Dias speaks through a selection where cohabit Andy Warhol and Jean-Luc Godard, Jean Genet and Jacques Demy, Buster Keaton and Kenneth Anger. The white letter follows the invitation to “occupy” the Solar gallery run by the festival organizers (with the exhibition From the Pearl River to Ave , open until September 25th). “The first time we talked about it with John Peter was about two years or more,” says Dias. “I always felt that there was in his film something that could turn an installation, something that goes even for a certain fetishism in relation to objects or scenarios, and he had already experienced the format with the Santo António Morning . We were very curious to know how they could occupy the space of the Manor House, but for practical and logistical issues. – Only now it was possible “
If this presence throughout the João Pedro Rodrigues festival has an outline of “global occupation,” Miguel Dias says laughingly that accurately reflects the multidisciplinary approach that the festival has always sought. “The truth is that there is more to where the festival can expand in terms of space – we have only two rooms at the Municipal Theater. Hence we have always sought to expand us through the diversity of proposals and capture different audiences. “So far, they have not given wrong. We’ll see in 2016.
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