| year by year
| featured filmmakers
|
films screened
| auxiliary texts |
|
Forest of signs.
The head in the stars, draped in colorful patterned fabrics, let us
wander in the forests in search of imagined territories. Between sky
and earth, light and darkness, memory and forgetfulness, may the
projections sparkle and the words resound. Let’s open the windows and
let in the wind. Let’s dive into timeless waters reflecting the
flickering flames of our multiplied lives... ❦
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World machine.
From observational documentary to forensic architecture, Doc's Kingdom
2018 proposes a program of investigations and experiences reinvesting
on the capacity of cinema to plunge into the contingency of historical
time and attest, by its own means, the indisputable evidence of the
real... ❦
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2017
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Surfacing trouble. We would like to invite you on a journey. Not
to cross the ocean but to plumb its surface. Forget the solid and
luminous history of continents and their lighthouses that tear into the
night with dazzling certitudes ... ❦
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2016
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The end of nature. The global ecology is irreversibly affected
by human activity. Departing from the end demands looking to the future
from the symptoms of the present. But the end of nature does not
necessarily refer here to a projection of the apocalypse or to a
diagnosis of the anthropocene ... ❦
|
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2015 |
All borders and frontiers. Taken
both
literally and in its broadest sense, borders reflect the geopolitical
dimension in the origin of old and present conflicts. But we may also
question the borders between the rich and the poor, victims and
perpetrators, who films and who is filmed, between sound and image. The
frontier as a limit, an obstacle or a passage ... ❦
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2013
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Idea of an island. A program of utopian and dystopian visions of
the world we live in: insulated places where the entire world is
condensed, discovered territories where, as in a stratified rock, different ages and origins, solitary gestures ... ❦ |
|
2010
|
The archive image.
Beyond the use of archival images, the notion of archive at the origin
of the act of filming. Gathering filmmakers who have intensely worked
with previously existent footage, and not forgetting that side of their
activity, we propose the analysis of different paths ... ❦ |
|
2009
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Requestioning the political image.
Still on the ashes of a century that was of politics and of the cinema,
how can we address today the relationships between these two fields?
Starting by evoking seminal gestures of an era when the terms of that
dichotomy had already been radically questioned ... ❦ |
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2008
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Landscape, the work of time.
Landscape as one of the possible key elements to analyse the whole
movement of modern cinema and some of its present-day radical
experiences. Landscape as crossroads of different contemporary arts ...
❦
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2007
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The circulation of the word.
The word read, the spoken word, the voice, the text. In and off. The
monologue, the dialogue, the talk, the interview, the circulating word.
How the word sets itself with the image, how it inscribes in it or
confronts ... ❦ |
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2006
|
A
point of view about the world is a point of view about cinema. If one
expects any film to incorporate a point of view about the world, today
one should also note the importance of stressing almost the inverse: in
the midst of the present audiovisual saturation, the productive use of
the means ... ❦
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2005
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Rural life, landscape,
memory: we offer them as the subject matter(s) of cinema – and we
therefore suggest that they also be translated, right from the start,
through themes such as gaze, interaction (confronting the camera),
movement ... ❦
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2003
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In
this edition, dedicated to Portuguese documentaries, and starting from
the viewing of a limited number of films, chosen for their originality
and representativeness, we intend to give rise to a discussion about
the paths of contemporary documentary cinema ... ❦ |
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2002
|
The
seminar concentrates on strong examples (not quantity) and on film
language, rather than on production or distribution issues. It aims to
look into the documentary potential to renew the whole cinema practice,
as well as ... ❦
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2001
|
This showcase’s programming is
guided by our concern in decentralizing
the exhibition of Portuguese films. We tried to create a space of
visibility for the most recent national production, contributing for
the creation of a space ... ❦
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2000
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In
the last few years, documentary film has had a clear production boom,
and has earned something which it seldom or never had in precious
historical periods: a market of its own, brought about by television
demand. That market ... ❦
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