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www.doclisboa.orgP R E S S K I T

INDEXDoclisboa ‘19 in Numbers 3

About the festival and Apordoc 5

Programme 7

Opening and Closing Sessions 8

International Competition 9

Portuguese Competition 11

New Visions 12

Heart Beat 18

From the Earth to the Moon 21

Retrospective Jocelyne Saab 24

Retrospective Rise and Fall of the Wall 29 - The Cinema of East Germany

Cinema of Urgency 35 Green Years 36

Doc Alliance 39

Education Project 40

Nebulae Network 44

Parallel Activities 56

Parties DOC HEART BEAT 59

Jury and Awards 61

Guests 70

Partners 82

Contacts 87

303 FILMS

48 COUNTRIES REPRESENTED

39 WORLD PREMIERES

45 INTERNATIONAL PREMIERES

9 EUROPEAN PREMIERES

44 PORTUGUESE FILMS

NUMBER OF FILMS BY SECTION: International Competition 14 Portuguese Competition 11 New Visions 63 Heart Beat 33 From the Earth to the Moon 32 Retrospective Jocelyne Saab 42 Retrospective Rise and Fall of the Wall - The Cinema of East Germany 50 Cinema of Urgency 2 Green Years 33 Doc Alliance 4 Education Project 13

DOCLISBOA ‘19 IN NUMBERS

NUMBER OF PREMIERES PER SECTION:

International Competition 4 World, 7 International, 1 European e 1 PortuguesePortuguese Competition 7 World e 4 PortugueseNew Vision 6 World, 6 International, 5 European e 34 PortugueseHeart Beat 5 World, 4 International, 1 European e 16 PortugueseFrom the Earth to the Moon 20 Portuguese, 5 World e 3 InternationalRetrospective Jocelyne Saab 1 World, 14 International e 26 PortugueseCinema of Urgency 1 EuropeanGreen Years 12 World, 9 International, 1 European e 8 PortugueseDoc Alliance 3 Portuguese

NUMBER OF COUNTRIES PER SECTION:

International Competition 11Portuguese Competition 7New Visions 19Heart Beat 16From the Earth to the Moon 14Retrospective Jocelyne Saab 7Retrospective Rise and Fall of the Wall - The Cinema of East Germany 3Cinema of Urgency 3Green Years 16Doc Alliance 6Education Project 8

press kit doclisboa'19 5

DOCLISBOA'19I’m here knocking on the wooden coffee table for luck but at the end of the day it’s only plastic pre-tending to be beechwood. It’s fine because this magic works all the same - Pedro Fortes

This edition of Doclisboa is dedicated to our dear friend and colleague Pedro Fortes, it’s with his evo-cation that we begin. This phrase hovered over our air for all these months since his death. In a way, it speaks of this limbo we live in, between the fall in the present and the sudden flight we allow ourselves to make, by insisting in being here: the magic works all the same because the magic is the result of invisible and uncontrollable links that humans create between themselves. It is in this field that cinema is there for us, and it is by calling out this magic that we programme this festival.

This year Doclisboa will continue to affirm itself as a community in-between different times, territories and ways of being, summoning the films and the people both in a sense of diving into - watching and think-ing what we are still to learn to watch and think, as well as in a sense of enlarged sharing - watching and thinking the world collectively, seeking inspiration in each other and coming up with unexpected ways in how to be with each other too. If cinema is the grassroot of arts, it is in this way - it is in the world and in the movement of all things.

Jocelyne Saab, whose integral retrospective we present, has made a pathway precisely defined by the crossings between the urgency (returning to Lebanon as a war reporter), the amazement of the record-ed reality and the construction of a rare filmic gestuality: cinema is not a court where the world is sen-tenced, its purpose is not that of determining things from our moral judgement, but rather a sensible transmission between us and things, through which experiences are found, interweaved and the resis-tance is done in that multiple space between imagination and attention.

Cinema, this magic that works all the same and albeit, it is also a way of caring: caring for others, caring for the infinitely far away, again in that exercise of the diving and the sharing. It’s a cinema in which the living and the dead have contact with others in the same room and bring us new images for the worlds yet to come. That is why we have programmed the retrospective “Rise and Fall of the Wall - The Cinema of East Germany”. 30 years following the fall of the Berlin wall, in a time where walls (physical, spiritual,


linguistic and discursive, sensitive) thrive, we look at the films that have been made in that territory (a territory can be determined not just geographically, but also temporally), and seek understanding and opening critical plans simultaneously. We live in a complex and often times violent Europe, where we are confronted with not only a history of colonialisms, but also cynical forms of neocolonialism, and with the fear that the history plummets us into a type of collective black hole. However, let’s go back to our dear Pedro Fortes: even when we find out that the table is made of plastic, the magic works - the magic is nothing more than the projection of a desire, and if we revisit this cinema today it is because we believe that Europe is in our hands.

Cíntia Gil Doclisboa Director


PROGRAMMEThe programme of Doclisboa counts with 303 films, this year, from 48 different countries. There’s 39 world premieres (four in the International Competition, seven in the Portuguese Com-petition, six in New Visions, five in Heart Beat, five in From the Earth to the Moon and twelve in Green Years), 45 international premieres (seven in the International Competition, six in New Vi-sions, four in Heart Beat, three in From the Earth to the Moon, fourteen in Retrospective Joce-lyne Saab, nine in Green Years), 9 european premieres (one in the International Competition, five in New Visions, one in Heart Beat, one in Cinema of Urgency and one in Green Years), 116 portu-guese premieres (one in the opening session, one in the closing session, one in the International Competition, four in the Portuguese Competition, 35 in New Visions, 16 in Heart Beat, 20 in From the Earth to the Moon, 26 in Retrospective Jocelyne Saab, eight in Green Years and three in Doc Alliance). Portugal collects 44 films, being that 11 will be in competition.


OPENING AND CLOSING SESSIONS

OPENING SESSION

Endless Nigh, Eloy Enciso, Spain, 2019, 90’ Portuguese Premiere

Synopsis A few years after the Civil War was over, Anxo returns to his home village in the Galician countryside. Through casual conversations along his trip, he discovers how war and the new regime have trans-formed the relationships among people. Once at home, he is greeted with concern by the victorious, but also by the defeated ones, who see in Anxo the challenge to start a journey to the past and their si-lenced memories. Excerpts from plays, memoirs and letters from the Franco regime serve as inspiration for Longa noite, a film exploring the social and political foundations of fascism.

CLOSING SESSIONS

Technoboss, João Nicolau, Portugal, France, 2019, 112’ Portuguese Premiere

Sinopse Luís Rovisco, divorced and well into his sixties, is hoping to retire soon from his job as the commercial director of SegurVale – Integrated Systems of Access Control. Until that happens, he can more often be found behind the wheel of his car, singing about what he sees along the way. His years of experience allow him to gracefully avoid the traps that technology, his co-workers and a mysteriously absent boss keep setting on his path. Not even the death of Napoleão (a cat), the constant pain on his knee or a fam-ily altercation overpower him. But before Lucinda, the receptionist at Almadrava Hotel, he finds himself singing to a different tune.


14 films originating from 11 different territories, all of which with a distinct and generous look at the world and film, and none of which (merely) what it seems to be. Formal and aesthetical diver-sity coupled with a stance on the world we share.

L’ULTIMU SOGNU - Last dream in Petra Bianca / WorLD Premiere Lisa Reboulleau / France / 2019 / 33’

Journey Through a Body / Camille Degeye / France / 2019 / 33’ iNterNAtioNAL Premiere

Spit on the Broom / Madeleine Hunt-Ehrlich / USA / 2019 / 12’ iNterNAtioNAL Premiere

中孚 61. The Inner Truth / Sofia Brito / Argentina / 2019 / 65’ iNterNAtioNAL Premiere - DeBut

Tribute to Judas / Manel Raga-Raga / Spain / 2019 / 26’ WorLD Premiere

In Ashes / Camila Rodriguez Triana / France, Colombia / 2019 / 63’ euroPeAN Premiere

Sun Inside / Jo Serfaty / Brazil / 2019 / 96’ iNterNAtioNAL Premiere

Just Don’t Think I’ll Scream / Frank Beauvais / France / 2019 / 76’ Portuguese Premiere

Noli Me Tangere / Christophe Bisson / France / 2019 / 81’ iNterNAtioNAL Premiere

I’m not Pilatus / Welket Bungué / Portugal / 2019 / 11’

Santikhiri Sonata / Thunska Pansittivorakul / Thailand, Germany / 2019 / 76’ WorLD Premiere

INtERNAtIONAL COMPEtItION


Under-ground / Wook Steven Heo / South Korea / 2019 / 72’ iNterNAtioNAL Premiere

A New Environment: Heinrich Klotz on Architecture and New Media / WorLD Premiere Christian Haardt / Germany / 2019 / 80’

Tinnitus / Daniil Zinchenko / Rússia / 2019 / 90’ iNterNAtioNAL Premiere


PORtUGUESE COMPEtItION11 films that are gestures of freedom, avoiding any categorisation. From the intimate to the cosmic, from poetry to witchcraft, from revolution to love.

Ghosts: Long Way Home / Tiago Siopa / Portugal / 2019 / 116’ WorLD Premiere

Breeding Ground / Pedro Filipe Marques / Portugal / 2019 / 83’ WorLD Premiere

history with no capital letter / Saguenail / Portugal / 2019 / 104’ WorLD Premiere

A Pleasure, Comrades! / José Filipe Costa / Portugal / 2019 / 106’ Portuguese Premiere

Volcano: What Does a Lake Dream? / Diana Vidrascu / France, Portuguese Premiere Portugal, Romania / 2019 / 21’

Reynard / Leonor Noivo / Portugal / 2019 / 40’ Portuguese Premiere

Lost Three Make One Found / Atsushi Kuwayama / Portuguese Premiere Portugal, Japan, Belgium, Hungary / 2019 / 26’

Unskinned / Inês Gil / Portugal / 2019 / 76’ WorLD Premiere

Bird's Nest / Miguel de Jesus / Portugal / 2019 / 85’ WorLD Premiere

Outside the oranges are blooming / Nevena Desivojevic / Portugal, WorLD Premiere Serbia / 2019 / 20’

War Diaries / Luís Brás / Portugal / 2019 / 55’ WorLD Premiere


NEw VISIONSWe propose to discuss borders and limits with films from different times that question the contempo-rary nature of cinema. Our invited directors are Ghassan Salhab and Sofia Bohdanowicz. We present a tribute to Barbara Hammer by some of her closest friends, and the latest films by Alain Cavalier and James Benning. Aside from theme programmes, there are unique films by young directors: Demons, by Daniel Hui, This Film Is About Me, by Alexis Delgado BúGDRlo, or the splendid When the Persim-mons Grew, by Hilal Baydarov. Rita Azevedo Gomes and Pierre Léon partner up and bring us Danses macabres, squelettes et autres fantaisies. We also summon the voice of Antonin Artaud from his radio performance in 1947.

TRIBUTE TO BARBARA HAMMER I Was/I Am / Barbara Hammer / USA / 1973 / 6’

Generations / Barbara Hammer, Joey Carducci / USA / 2010 / 15’

A Month of Single Frames / Lynne Sachs (Made with and euroPeAN Premiere for Barbara Hammer) / USA / 2019 / 15’

So Many Ideas Impossible To Do All / Mark Street com Barbara Hammer / Portuguese Premiere USA / 2019 / 12’

Vever (for Barbara) / Deborah Stratman / Guatemala, USA / 2019 / 12’

Multiple Orgasm / Barbara Hammer / USA / 1976 / 6’


INVITED DIRECTOR GHASSAN SALHAB

An Open Rose / WaGDR / Ghassan Salhab / Lebanon / 2019 / 72’ Portuguese Premiere

Chinese Ink / Ghassan Salhab / Lebanon / 2016 / 54’ Portuguese Premiere

Tango of Yearning / Mohamed Soueid / Lebanon / 1998 / 72’ Portuguese Premiere

INVITED DIRECTOR SOFIA BOHDANOWICZ A Prayer / Sofia Bohdanowicz / Canada / 2013 / 7’ Portuguese Premiere

An Evening / Sofia Bohdanowicz / Canada / 2013 / 19’ Portuguese Premiere

Another Prayer / Sofia Bohdanowicz / Canada / 2013 / 6’ Portuguese Premiere

Never Eat Alone / Sofia Bohdanowicz / Canada / 2016 / 68’ euroPeAN Premiere

A Drownful Brilliance of Wings / Sofia Bohdanowicz / Canada / 2016 / 8’ euroPeAN Premiere

Maison du bonheur / Sofia Bohdanowicz / Canada / 2017 / 62’ Portuguese Premiere

Roy Thompson / Sofia Bohdanowicz / Canada / 2018 / 3’ iNterNAtioNAL Premiere

Where / Sofia Bohdanowicz / Canada / 2018 / 4’ iNterNAtioNAL Premiere

The Soft Space / Sofia Bohdanowicz, Melanie Scheiner / Canada / 2018 / 4’ Portuguese Premiere

Veslemøy’s Song / Sofia Bohdanowicz / Canada / 2018 / 8’ Portuguese Premiere

MS Slavic 7 / Sofia Bohdanowicz, Deragh Campbell / Canada / 2019 / 64’ Portuguese Premiere


BODY POLITICS AND MENTAL TERRITORY Displacement / Bahar Samadi / Iran / 2015 / 14’ euroPeAN Premiere

A Passage / Rouzbeh Akhbari / Armenia, Canada / 2019 / 17’ WorLD Premiere

Rose Garden / Mehraneh Atashi / Canada, Germany / 2011 / 9’ Portuguese Premiere

I have Sinned a Rapturous Sin / Maryam Tafakory / Iran, Portuguese Premiere United Kingdom / 2018 / 8’

Boundless Game / Shahrzad Malekian / Iran / 2015 / 13’ Portuguese Premiere

Sarotis; Wearable Futures / Ava Aghakouch-ak, Maria Paneta and Tong Zhao / United Kingdom / 2016 / 2’

Sovar / Ava Aghakouchak / United Kingdom / 2019 / 3’ WorLD Premiere

Proliferation / Jinoos Taghizadeh / Iran / 2013 / 4’ Portuguese Premiere

Elephant / Mona Kakanj / Germany / 2014 / 4’ iNterNAtioNAL Premiere

Ultima Ratio Mountain of the Sun / Bahar Noorizadeh / Canada, Lebanon / 2017 / 13’

Me, Myself and A.I.I.I. / Abbas Zahedi / United Kingdom / 2017 / 5’ WorLD Premiere

PORTRAITS OF PAIN: UNFRAMING DESIRE

Livestock / Derek Jenkins / Canada, USA / 2019 / 12’ Portuguese Premiere

Six Portraits of Pain / Teresa Villaverde / Portugal / 2019 / 26’

Hard as Opal / Dani Leventhal ReStack, Jared Buckhiester / Portuguese Premiere USA / 2015 / 30’


A Boy Needs a Friend / Steve Reinke / Canada, USA / 2015 / 22’ Portuguese Premiere

Come Coyote / Dani Leventhal ReStack / USA / 2019 / 8’ euroPeAN Premiere

To End God's Judgement / Antonin Artaud / France / 1947 / 12’

Strangely Ordinary This Devotion / Dani Leventhal ReStack, Portuguese Premiere Sheilah Wilson ReStack / USA / 2017 / 27’ Lonely Rivers / Mauro Herce / France, Spain / 2019 / 28’ Portuguese Premiere

This Film is About Me / Alexis Delgado / Spain / 2019 / 62’ Portuguese Premiere

FUTURE EMBODIED AGENDA 1958 (with notes from 1960 and 65) / Pilar Palomero / WorLD Premiere Spain / 2019 / 19’

A Moon for My Father / Mania Akbari, Douglas White / Portuguese Premiere Iran, United Kingdom / 2019 / 74’

This Action Lies / James N. Kienitz Wilkins / USA / 2018 / 32’ Portuguese Premiere

Manifiest / Alejandro Rath / Argentina / 2019 / 61’ WorLD Premiere

Divinations / Sarah Vanagt / Belgium / 2019 / 35’ iNterNAtioNAL Premiere

The Hottest August / Brett Story / USA, Canada / 2019 / 96’ Portuguese Premiere


Black Sun / Maureen Fazendeiro / Portugal, France / 2019 / 8’

vulture / Philip Hoffman / Canada / 2019 / 57’ Portuguese Premiere

NATURAL HISTORY

Naturales Historiae / Pauline Julier / Switzerland / 2019 / 56’ Portuguese Premiere

History of the Revolution / Maxime Martinot / France / 2019 / 30’ iNterNAtioNAL Premiere

TWO TIMES Naked Hearts / Édouard Luntz / France / 1966 / 90’

Young and Alive / Matthieu Bareyre / France / 2018 / 90’ Portuguese Premiere SIX PORTRAITS XL 6. Léon / Alain Cavalier / France / 2017 / 52’ Portuguese Premiere

6 Portraits XL / Alain Cavalier / France / 2017 / 312’ Portuguese Premiere

Rushing Green with Horses / Ute Aurand / Germany / 2019 / 82’ Portuguese Premiere

Demons / Daniel Hui / Singapor / 2018 / 84’ Portuguese Premiere

TELEMUNDO / James Benning / USA / 2018 / 83’ WorLD Premiere


Serpentarius / Carlos Conceição / Angola, Portugal / 2019 / 83’

Years of Construction / Heinz Emigholz / Germany / 2019 / 93’ Portuguese Premiere

Living and Knowing You’re Alive / Alain Cavalier / France / 2019 / 82’ Portuguese Premiere

When The Persimmons Grew / Hilal Baydarov / Azerbaijan, Portuguese Premiere Austria / 2019 / 119’

Wang Bing, tendre cinéaste du chaos chinois / Dominique Auvray iNterNAtioNAL Premiere / France / 2019 / 60’

Danses macabres, squelettes et autres fantaisies / Pierre Léon, Portuguese Premiere Rita Azevedo Gomes, Jean-Louis Schefer / France, Portugal, Switzerland / 2019 / 110’


HEARt BEAtWho are rockers Zé Pedro and Daniel Darc? Why is the bass player for the Rolling Stones the archivist of the group? What is the story of the Cavern Club where the Beatles started? Who is the projection-ist friend of Abel Ferrara? What did film critic Pauline Kael write? What kind of film feminist activism invented Carole Roussopoulos and Delphine Seyrig? Discover Marie Losier portrait of musician Felix Kubin. Meet Chilean queer activist and visual artist Lemebel. Remember Lil Peep, the prince of the emo trap scene. How did Miloš Forman become a Hollywood acclaimed director? Listen to documen-tary filmmaker Eduardo Coutinho, to the story of one of the contributors to the birth of Bossa Nova, Dorival Caymmi, and to the words of poet Sophia de Mello Breyner. Move your bodies with choreogra-phers Anne Teresa De Keersmaeker and Jérôme Bel.

EXCHANGING WORDS WITH COUTINHO

A Treat of Coutinho / Josafá Veloso / Brazil / 2019 / 75’ iNterNAtioNAL Premiere

Last Conversations / Eduardo Coutinho / Brazil / 2015 / 87’

Twenty Years Later / Eduardo Coutinho / Brazil / 1984 / 119’

ANNE TERESA DE KEERSMAEKER

Rosas danst Rosas / Stefaan Decostere / Belgium / 1983 / 26’

Mitten / Olivia Rochette, Gerard-Jan Claes / Belgium / 2019 / 53’ Portuguese Premiere

TRUE LOVE WILL FIND YOU IN THE END

Hi How Are You Daniel Johnston / Gabriel Sunday / USA / 2015 / 17’


The Angel and Daniel Johnston - Live at the Union Chapel / Antony Crofts / Portuguese Premiere United Kingdom / 2008 / 65’

Talking About Trees / Suhaib Gasmelbari / France, Sudan, Portuguese Premiere Germany, Chade, Qatar / 2019 / ‘93

What she said: the Art of Pauline Kael / Rob Garver / USA / 2019 / 96’ Portuguese Premiere

Delphine and Carole / Callisto McNulty / France, Switzerland / Portuguese Premiere 2019 / 71’

Forman vs. Forman / Helena Třeštíková, Jakub Hejna / Portuguese Premiere Czech Republic, France / 2019 / 78’

Lemebel / Joanna Reposi Garibaldi / Chile, Colombia / 2019 / 97’ Portuguese Premiere

Dorival Caymmi - The Sounds of Life / Daniela Broitman / Brazil iNterNAtioNAL Premiere / 2019 / 92’

The Projectionist / Abel Ferrara / USA / 2019 / 81’ Portuguese Premiere

The Quiet One / Oliver Murray / United Kingdom / 2019 / 98’ euroPeAN Premiere

The Cavern Club: the Beat Goes On / Christian Francis-Davies, Portuguese PremiereJon Keats / United Kingdom / 2019 / 69’

The Bridge / Paulo Raposo / Portugal / 2019 / 23’ WorLD Premiere

Felix in Wonderland / Marie Losier / France, Germany / 2019 / 51’ Portuguese Premiere

Oh les filles! / François Armanet / France / 2019 / 80’ Portuguese Premiere

YesteGDRy Mitte Tomorrow / Peter Zach / Germany / 1995 / 85’ Portuguese Premiere


The Sound of Masks / Sara Gouveia / Portugal, África do Sul / 2018 / 71’ Portuguese Premiere

Sophia, in her own words / Manuel Mozos / Portugal / 2019 / 56’ WorLD Premiere

Retrospective / Jérôme Bel / France / 2019 / 82’ iNterNAtioNAL Premiere

Zé Pedro Rock ‘n’ Roll / Diogo Varela Silva / Portugal / 2019 / 110’ WorLD Premiere

Daniel Darc, Pieces of My Life / Marc Dufaud, Thierry Villeneuve / iNterNAtioNAL Premiere France / 2019 / 100’

ZONA / Clayton Vomero / United Kingdom / 2018 / 62’ Portuguese Premiere

Everybody’s Everything / Sebastian Jones, Ramez Silyan / United Kingdom, Portuguese PremiereUSA / 2019 / 116’

Don’t Look Back / D.A. Pennebaker / USA, United Kingdom / 1967 / 95’

Casa Conveniente / Barbara Balestas Kazazian / France / 2019 / 13’ Portuguese Premiere

Love Essay / Zé G. Pires / Portugal / 2019 / 66’ WorLD Premiere

Chico: Artista Brazileiro / Miguel Faria Jr. / Brazil / 2015 / 115’

CINEMATIC PERFORMANCE

Dark Mysteries / Pedro Lino / Portugal / 2019 / 13’ WorLD Premiere

O Intendente é um lugar psicológico / Tiago Pereira / Portugal / 2019 / 58’


Several authors who have been with us return with new films: Werner Herzog, Lech Kowalski, Te-resa Villaverde, Éric Baudelaire, Sébastien Lifschitz. Luísa Homem introduces us to the universe of Suzanne Daveau. Thomas Heise presents a family investigation intersecting the recent history of Germany and Europe. Camilo de Sousa and Isabel Noronha share memories from post-independence Mozambique that are paramount to think about our recent history. Pierre-Marie Goulet guides us through the crossovers between Portuguese and Muslim cultures. Films from so many territories that present us with past, present and future.

DIRECTORS IN FOCUS: KEVIN JEROME EVERSON, CLAUDRENA N. HAROLD

Sugarcoated Arsenic / Kevin Jerome Everson, Claudrena N. Harold / USA / 2013 / 21’

How Can I Ever Be Late / Kevin Jerome Everson, Claudrena N. Harold / USA / 2017 / 5’

We Demand / Kevin Jerome Everson, Claudrena N. Harold / USA / 2016 /11’ Portuguese Premiere

Fastest Man in the State / Kevin Jerome Everson, Claudrena N. Harold Portuguese Premiere/ USA / 2017 / 10’

70kg / Kevin Jerome Everson, Claudrena N. Harold / USA / 2017 / 3’ Portuguese Premiere

Black Bus Stop / Kevin Jerome Everson, Claudrena N. Harold / USA / Portuguese Premiere2019 / 10’

Hampton / Kevin Jerome Everson, Claudrena N. Harold / USA / 2019 / 7’ iNterNAtioNAL Premiere

FROM tHE EARtH tO tHE MOON


DECOLONIZING MEMORY A Story from Africa / Billy Woodberry / Portugal / 2019 / 33’

Palimpsest of the Africa Museum / Matthias De Groof / Belgium / 2019 / 70’ iNterNAtioNAL Premiere

Heimat is a Space in Time / Thomas Heise / Germany, Austria / Portuguese Premiere 2019 / 219’

Landless / Camila Freitas / Brazil / 2019 / 112’ Portuguese Premiere

The Brink / Alison Klayman / USA / 2019 / 92’ Portuguese Premiere

Movements of a Nearby Mountain / Sebastian Brameshuber / Austria, Portuguese Premiere France / 2019 / 86’

Karelia: International with Monument / Andres Duque / Spain / 2018 / 91’ Portuguese Premiere

Nomad: In the Footsteps of Bruce Chatwin / Werner Herzog / Portuguese Premiere United Kingdom / 2019 / 89’

Family Romance, LLC / Werner Herzog / USA / 2019 / 89’ Portuguese Premiere

Blow It to Bits / Lech Kowalski / France / 2019 / 109’ Portuguese Premiere

The Last Dream / Alberto Álvares / Brazil / 2019 / 61’ iNterNAtioNAL Premiere

Brexit Behind Closed Doors / Lode Desmet / Belgium, United Kingdom / Portuguese Premiere 2019 / 120’


Où en êtes-vous, Teresa Villaverde? / Teresa Villaverde / France, Portugal / Portuguese Premiere2019 / 10’

On Air / Manno Lanssens / Belgium, Holanda / 2018 / 81’ Portuguese Premiere

Until the Sun Dies / Claudio Carbone / Portugal / 2019 / 76’ WorLD Premiere

Un film dramatique / Éric Baudelaire / France / 2019 / 114’ Portuguese Premiere

143 sahara street / Hassen Ferhani / Argelia, France, Qatar / 2019 / 104’ Portuguese Premiere

The Last Port - Beyond the Bridge / Pierre-Marie Goulet / Portugal / 2019 / 90’ WorLD Premiere

Adolescentes / Sébastien Lifschitz / France / 2019 / 135’ Portuguese Premiere

La Vida en Común / Ezequiel Yanco / Argentina, France / 2019 / 70’ Portuguese Premiere

Judenrein / Daniel Blaufuks / Portugal / 2019 / 11’ WorLD Premiere

Status and Terrain / Ute Adamczewski / Germany / 2019 / 120’ Portuguese Premiere

Suzanne Daveau / Luisa Homem / Portugal / 2019 / 115’ WorLD Premiere

We Dreamed of a Country / Camilo de Sousa, Isabel de Noronha / Portugal / WorLD Premiere 2019 / 73’

Portraits of Identification / Anita Leandro / Brazil / 2014 / 73’


One can not put a label on Jocelyne Saab as a person or on her film work. She starts her career as a jour-nalist and war reporter, and she directs her first feature-length documentary, Lebanon in a Whirlwind, in 1975. Lebanon, where Jocelyne Saab was born (Beirut, 1948), is the centre from which unfolds a cin-ematic map comprising roughly thirty documentary films, (always surprising) “fiction films”, portraits and pictures, installations and exhibitions. A cinematic map that becomes a geographic one, oriented toward the Mediterranean, but also toward East, toward the Middle East, until it reaches the Far East, without forgetting the Asian location of the cosmopolitan and open Lebanon that the civil war tried to close by multiplying walls.

A LEADER IS BORN: MUAMMAR GADDAFI

Interview With Gaddafi / Jocelyne Saab / France / 1973 / 5’ iNterNAtioNAL Premiere

Kadhafi, The Green March / Jocelyne Saab / France / 1973 / 28’ iNterNAtioNAL Premiere

Kadhafi / Jocelyne Saab / France / 1973 / 60’ iNterNAtioNAL Premiere

MIDDLE EAST REPORT 1 Middle East: Israel / Jocelyne Saab / France / 1973 / 26’ iNterNAtioNAL Premiere

La Guerre d’Octobre / Jocelyne Saab / France / 1973 / 8’ iNterNAtioNAL Premiere

Middle East: Egypt / Jocelyne Saab / France / 1973 / 8’ iNterNAtioNAL Premiere

JOCELyNE SAAB REtROSPECtIVE


War in Orient: Egypt / Jocelyne Saab / France / 1973 / 8’ iNterNAtioNAL Premiere

Golan, The Frontline / Jocelyne Saab / France / 1974 / 10’ iNterNAtioNAL Premiere

Iraq: War in Kurdistan / Jocelyne Saab / France / 1974 / 16’ iNterNAtioNAL Premiere

MIDDLE EAST REPORT 2

Palestinian Women / Jocelyne Saab / France / 1974 / 16’ WorLD Premiere

Les Nouveaux croisés d’Orient / Jocelyne Saab / Lebanon / 1975 / 10’ Portuguese Premiere

South Lebanon, The Story of a Village Under Siege / Jocelyne Saab / France / Portuguese Premiere 1976 / 12’

Children of War / Jocelyne Saab / France / 1976 / 12’ Portuguese Premiere

Beirut, never again / Jocelyne Saab / Lebanon / 1976 / 35’ Portuguese Premiere

Beirut, my city / Jocelyne Saab / Lebanon / 1982 / 30’ Portuguese Premiere

LEBANON IN A WHIRLWIND

Lebanon in a Whirlwind / Jocelyne Saab / Lebanon / 1975 / 75’ Portuguese Premiere

MY NAME IS JOCELYNE SAAB OR PALESTINE, DÉFENSE D’ENTRER

My Name is Mei Shigenobu / Jocelyne Saab / Lebanon / 2018 / 6’ Portuguese Premiere

Palestinians Keep Fighting / Jocelyne Saab / France / 1973 / 10’ iNterNAtioNAL Premiere


Le Front du refus / Jocelyne Saab / France / 1975 / 12’ Portuguese Premiere

The Ship of Exile / France, Lebanon / 1982 / 12’ iNterNAtioNAL Premiere

Lebanon: state of shock / Jocelyne Saab / France, Lebanon / 1982 / 6’ iNterNAtioNAL Premiere

One Dollar a Day / Jocelyne Saab / Lebanon / 2016 / 6’ Portuguese Premiere

Imaginary Postcards / Jocelyne Saab / Turkey / 2016 / 6’ Portuguese Premiere

LETTERS FROM UTOPIA

Letter from Beirut / Jocelyne Saab / France, Lebanon / 1978 / 50’ Portuguese Premiere

Iran, Utopia in the Making / Jocelyne Saab / Lebanon / 1980 / 57’ Portuguese Premiere

SAHARA IS NOT FOR SALE

Sahara Is Not For Sale / Jocelyne Saab / France, Argelia, Marocco / Portuguese Premiere1973 / 93’

A SUSPENDED CITY

Lebanese Hostages in Their City / Jocelyne Saab / France, Lebanon / 1982 / 6’ iNterNAtioNAL Premiere

A Suspended Life / Jocelyne Saab / France, Lebanon / 1985 / 90’ Portuguese Premiere


WALK LIKE AN EGYPTIAN Egypt, The City of the Deaths / Jocelyne Saab / Lebanon / 1977 / 38’ Portuguese Premiere

The Architect of Luxor / Jocelyne Saab / France / 1986 / 18’ Portuguese Premiere

Les Fantômes d’Alexandrie / Jocelyne Saab / France / 1986 / 18’ Portuguese Premiere

La Croix des Pharaons / Jocelyne Saab / France / 1986 / 11’ Portuguese Premiere

Allah’s Love / Jocelyne Saab / France / 1986 / 17’ iNterNAtioNAL Premiere

ONCE UPON A TIME BEIRUT Once upon a Time Beirut / Jocelyne Saab / Portuguese PremiereLebanon, France / 1994 / 101’

DUNIA Dunia / Jocelyne Saab / Egypt, France, Lebanon / 2005 / 112’


LIVES THAT MATTER

Pour quelques vies / Jocelyne Saab / Lebanon / 1976 / 17’ Portuguese Premiere

La Tueuse / Jocelyne Saab / France, 1988 / 10’ Portuguese Premiere

The Lady of Saigon / Jocelyne Saab / Lebanon, Vietname, France / Portuguese Premiere 1998 / 62’ WHAT’S GOING ON?

What’s Going On? / Jocelyne Saab / Lebanon, France, Costa Rica / Portuguese Premiere 2009 / 80’

CROSSING THE GENRES Belly Dancers / Jocelyne Saab / Lebanon, France / 1989 / 26’ Portuguese Premiere

Café du genre / Jocelyne Saab / France / 2013 / 27’ Portuguese Premiere

Fécondation in video / Jocelyne Saab / France / 1991 / 26’ Portuguese Premiere


On the occasion of the thirtieth anniversary of the fall of the Berlin Wall, this retrospective will pres-ent films produced between 1946 and 1991, mostly by the East German state film studio, DEFA. This programme will bear witness to the diversity and abundance of talented women and men, filmmakers, depicting in different cinematic languages, free or censured, in propaganda and forbidden films, peo-ple living in a wounded country in a wounded territory. These documentaries, accompanied by some fiction films, needed to be rediscovered and re-evaluated from a current perspective.

RECONSTRUCTION

Rebuilding Berlin / Kurt Maetzig / GDR / 1946 / 22’

Somewhere in Berlin / Gerhard Lamprecht / GDR / 1946 / 80’ WHY BUILD A WALL?

Look at this City / Karl Gass / GDR / 1962 / 85’

REtROSPECtIVE RISE AND FALL OF tHE wALL – tHE CINEMA OF EASt GERMANy


HAIL TO THE GDR! Unity SPD-KPD / Kurt Maetzig / Germany (Berlim Oriental) / 1946 / 20’

We Are Building Our Gate to the World / Heinz Reusch / GDR / 1958 / 27’

Wer die Erde liebt / Uwe Belz, Jürgen Böttcher, Joachim Hellwig, Harry Hornig / GDR / 1973 / 72’

HAIL TO WORK!

Steel / Joop Huisken / GDR / 1950 / 13’

The Secretary / Jürgen Böttcher / GDR / 1967 / 29’

The Carbide Factory / Heinz Brinkmann / GDR / 1988 / 25’

Leisure / Karl Gass / GDR / 1964 / 39’

HAIL TO WORKERS! Turbine I / Joop Huisken / GDR / 1953 / 25’

Furnace Builders / Jürgen Böttcher / GDR / 1962 / 15’

Laundresses / Jürgen Böttcher / GDR / 1972 / 23’

Shunters / Jürgen Böttcher / GDR / 1984 / 22’


POWERFUL WOMEN? She / Gitta Nickel / GDR / 1970 / 30’

Who's Afraid Of The Bogeyman / Helke Misselwitz / GDR / 1989 / 52’

BORN IN 1945: THE GOLZOW KIDS

Anmut sparet nicht noch Mühe / Winfried Junge / GDR / 1979 / 105’

THE WITTSTOCK GIRLS

Wittstock Girls / Volker Koepp / GDR / 1975 / 20’

Back in Wittstock / Wolfgang Geier, Volker Koepp / GDR / 1976 / 22’

Wittstock III / Volker Koepp / GDR / 1978 / 32’

Living and Weaving / Volker Koepp / GDR / 1981 / 28’

PORTRAITS

Martha / Jürgen Böttcher / GDR / 1978 / 56’

Alfred / Andreas Voigt / GDR / 1986 / 39’

HOW WONDERFUL IS OUR YOUTH! 1 Barefoot and without a hat / Jürgen Böttcher / GDR / 1964 / 26’

Being 18 is not Enough / Kurt Tetzlaff / GDR / 1964 / 22’


The Case of H. and Eight Others / Richard Cohn-Vossen / GDR / 1972 / 29’

Yell Once a Week / Günter JoGDRn / GDR / 1982 / 17’

HOW WONDERFUL IS OUR YOUTH! 2 Paule in Concert / Lew Hohmann / Germany de Leste / 1983 / 33’

First Love / Konrad Weiß / GDR / 1984 / 65’

COPS AND ROBBERS

Why Make a Film About People Like Them? / Thomas Heise / GDR / 1980 / 36’

People’s Police Force / Thomas Heise / GDR / 1985 / 58’

ORDINARY LIFE

Das Haus / Thomas Heise / GDR / 1984 / 56’

Snack Bar Special / Thomas Heise / GDR / 1990 / 27’

THE MUSIC SCENE

whisper & SHOUT / Dieter Schumann / GDR / 1988 / 120’


EVERY WOMAN After Winter Comes Spring / Helke Misselwitz / GDR / 1988 / 112’

THE MARCH BRANDENBURG TRILOGY, PARTS 1 AND 2

March Brandenburg Bricks / Volker Koepp / GDR / 1989 / 35’

March Brandenburg Heath, Märkischer Sand / Volker Koepp / GDR / 1990 / 53’

THE MARCH BRANDENBURG TRILOGY, PART 3 Märkische Gesellschaft Inc. / Volker Koepp / Germany / 1991 / 73’

THE WALL FALLS

Kehraus / Gerd Kroske / GDR / 1990 / 30’

Leipzig in the Fall / Gerd Kroske, Andreas Voigt / GDR / 1989 / 54’

THE WALL HAS FALLEN

Last Year Titanic / Andreas Voigt / GDR, Germany / 1991 / 101’

BERLIN STORIES 1

Construction Site X / Gerhard Klein / GDR / 1950 / 12’

Berlin - Schönhauser Corner / Gerhard Klein / GDR / 1957 / 82’


BERLIN STORIES 2 Today / Joachim Hadaschik / GDR / 1966 / 29’

Berlin Around the Corner / Gerhard Klein / GDR / 1965-1990 / 85’

KADDISH, A PRAYER TO THE DEAD

Death Camp Sachsenhausen / Richard Brandt / GDR / 1946 / 40’

Night and Fog / Alain Resnais / France / 1956 / 32’

Memento / Karlheinz Mund / GDR / 1966 / 16’

THE STASI The Black Box / Johann Feindt, Tamara Trampe / GDR / 1992 / 100’

THE IRON AGE

Iron Age / Thomas Heise / Germany / 1991 / 87’


CINEMA OF URGENCyO Que Vai Acontecer Aqui? / Colectivo Left Hand Rotation / Portugal, Spain / 2019 / 83’

A nossa bandeira jamais será vermelha / Pablo López Guelli / Brazil / euroPeAN Premiere2019 / 70’


The opening film of the Green Years section this year is Thirty, by Simona Kostova, produced by the German Film and Television Academy Berlin (DFFB), which is also the invited school—we’ll screen films covering 50 years of its existence. As of this edition, the competitive component of Green Years opens up to European productions, thus presenting the views of new directors on a continent scale.

OPENING SESSION GREEN YEARS

Thirty / Simona Kostova / Germany / 2019 / 114’ Portuguese Premiere

GREEN YEARS

Simulacrum / Duarte Maltez / Portugal / 2019 / 8’ WorLD Premiere

Beach House / Teresa Folhadela / Portugal / 2019 / 21’ WorLD Premiere

They don’t represent us / Irene Muñoz Martin / Switzerland / 2019 / 40’ iNterNAtioNAL Premiere

A Family Tale / Natalia Ciepiel / Dinamarca / 2018 / 37’ WorLD Premiere

Labyrinth / Oktay Namazov / Azerbaijan, Belgium, Hungria, WorLD PremierePortugal / 2019 / 20’

Notes from the Neighbourhood / Laura Engelhardt / euroPeAN Premiere Germany / 2018 / 26’

Northern Malady / Gerrit Kuge / Germany / 2018 / 28’ WorLD Premiere

GREEN yEARS


Rio Torto / Mário Veloso / Portugal / 2019 / 16’ WorLD Premiere

There’s Margin / Filipe Oliveira / Portugal / 2019 / 18’ WorLD Premiere

Rex Will Sail In / Josip Lukic / Croácia / 2019 / 36’ iNterNAtioNAL Premiere

The War Of Cents / Nadér S. Ayach / France, Tunísia / 2019 / 38’ iNterNAtioNAL Premiere

Recorded Dreams #1 / Jonathan Ospina / Switzerland / 2019 / 13’ iNterNAtioNAL Premiere

Everything Near Becomes Distant / Francisco Bouzas / Argentina, iNterNAtioNAL Premiere Spain / 2019 / 13’

To Francisco / Rodrigo Pedro / Portugal / 2019 / 15’ WorLD Premiere

The Good Breast and the Bad Breast / Yan Tomaszewski / France / iNterNAtioNAL Premiere2019 / 22’

My American Father / Justine Abitbol / France / 2018 / 38’ WorLD Premiere

Frozen in Time / Simona Viackute / Lituânia, United Kingdom / 2018 / 7’ WorLD Premiere

When Your First Son Gets Up To No Good / Jacob Oduwole / Portugal / WorLD Premiere 2019 / 14’

And we’ll be happy again / Krzysztof Wołżański / Polónia / 2019 / 22’ iNterNAtioNAL Premiere

A tiny country / Pauline Laplace / France / 2019 / 58’ WorLD Premiere


GREEN YEARS - SPECIAl SESSIONS INvITED SCHOOl DFFB

Chaos / Samuel Auer / Germany / 2019 / 5’ Portuguese Premiere

Flat Desires / Senem Göcmen / Germany / 2017 / 5’ Portuguese Premiere

Asphalt flowers / Borbala Nagy / Germany / 2017 / 19’ Portuguese Premiere

Yesterday my Friend bought a Bike / Ramon Zürcher / Germany / iNterNAtioNAL Premiere 2010 / 10’

I stayed in Berlin all summer / Angela Schanelec / Germany / 1993 / 50’

Subjectitude / Helke Sander / Germany / 1966 / 5’

Layover / Julia Milz / Germany / 2017 / 15’

What We Were / Melanie Wälde, Hanna Martin / Germany / 2019 / 15’ Portuguese Premiere

Absinth / Ewa Wikiel / Germany / 2016 / 16’ Portuguese Premiere

Linger on Some Pale Blue Dot / Alexandre Koberidze / Israel, Germany / Portuguese Premiere 2018 / 29’

Color Test: The Red Flag / Gerd Conrad / Germany / 1968 / 12’

Rescue the Fire / Jasco Viefhues / Germany / 2019 / 83’ iNterNAtioNAL Premiere


Odyssey / Sabine Groenewegen / Holanda, Belgium, France, Portugal / 2018 / 63’

Behind our eyes / Anton Bialas / France / 2018 / 46’ Portuguese Premiere

Shelter: Farewell to Eden / Enrico Masi / Italy, France / 2019 / 81’ Portuguese Premiere

That Which Does Not Kill / Alexe Poukine / Belgium, France / 2019 / 85’ Portuguese Premiere

DOC ALLIANCE


EDUCAtION PROJECtDOC ESCOlAS14 FIlM SESSIONS FOR SCHOOlS

We pay a visit to the former East Germany through this year’s theme retrospec-tive, and we reflect upon the conflicts of the Sahara Desert from the perspective of Jocelyne Saab. We discover the literary work of Sophia de Mello Breyner, and we take a peek at the latest film by Éric Baudelaire, made by him and the children with whom he worked for 5 years. Aside from these and other propositions from our regular programme, we put forward two special screenings for the younger ones that question the notion of frontier.

DOCS 4 KIDSWORKSHOPS AND SESSIONS FOR CHIlDREN AND YOUNGSTERS AGED 4 TO 15

We celebrate the 30th anniversary of the fall of the Berlin Wall with a series of workshops addressing the notion of border. In 1989, according to a research by the University of Quebec, there were 16 walls dividing populations and establishing frontiers all over the world. There are currently 65 walls already built and many others nearly finished. What is a wall for anyway?

DOCS 4 KIDS WEEKEND WORKSHOPSlength: 2hrs (with the exception of the editing workshop – 3hrs)

Film soundtracking workshopfor children aged 4 – 7 (with an adult)Based on a short animation, we’ll come up with sounds for the objects, create dialogues for the characters and imagine a sound atmosphere for the film.


In Halffor children aged 8 – 11We think about what it would be like to live in a divided city. In a small activity focus-sing on sound and image techniques, we explore new ways of telling stories.

Editing workshopfor youngsters aged 12 – 15Witnessing, being part of and taking action by reinventing.

On the Other Sidefor children aged 4 – 7 (with an adult)What do we picture beyond the wall? We go beyond our own frontiers to create our ideal city. Tell us what you see!

video mapping workshopfor children aged 8 – 11We’ll try out the video mapping technique live: we’ll screen a few archive images on the surface of a makeshift wall, as a way to create a memorial to the Berlin Wall.

DOCS 4 KIDS SCHOOl WORKSHOPSlength: 1h30School groups

SPECIAl WORKSHOP FOR SENIORSlength: 2hA workshop to bring senior groups closer to documentary film.


DOCS 4 KIDS PARTY

To bring 11 days of activities to an end, we invite all families to join us in this party filed with entertainment. With the help of some of our collaborators, we prepared a series of activities for all ages.

Free attendance upon prior inscription.

TicketsSchool groups: €1 per participant (€1,1 at Cinemateca Júnior)Families: €4 per participantCarers do not pay

Contact:Sara Marques, [email protected], +351 910 951 160


PROGRAMME

The Rescue / Sieglinde Hamacher / GDR / 1980 / 5’

M. Daff is Shooting a Film / Klaus Georgi / GDR / 1986 / 4’

The Solution / Sieglinde Hamacher / GDR / 1987 / 4’

Belly and Soul / Klaus Georgi / GDR / 1988 / 5’

The Full Circle / Klaus Georgi / GDR / 1988 / 4’

The Monument / Klaus Georgi, Lutz Stützner / GDR / 1989 / 4’

Variants / Klaus Georgi / GDR / 1979 / 3’

The Wall / Jürgen Böttcher / GDR / 1990 / 97’

The Wall / Walter de Hoog / USA / 1962 / 10’

Untravel / Ana Nedeljković, Nikola Majdak Jr. / Serbia, Slovakia / 2018 / 10’

The Other Side / Khen Shalem / Israel / 2011 / 23’

Connected Walls USA / México #Child / Fidel Enriquez, Valeria Fernandez / Belgium, France / 2014 / 5’

Walls / Pablo Iraburu, Migueltxo Molina / Spain / 2015 / 80’


Nebulae is the new space for networking at Doclisboa. It is a group of activities, gatherings, opportunities and people for the advancement of the creation, produc-tion and dissemination of independent film.

Nebula – a diffuse cloud of interstellar dust or gas or both, visible as luminous patches or areas of darkness depending on the way the mass absorbs or reflects incident light or emits its own light. Some nebulae come from the gas and dust thrown out by the explosion of a dying star. Other nebulae are regions where new stars are beginning to form.

ARCHÉ

Arché is a laboratory of professional activities aiming directors, producers and other film professionals. With the support of Ibermedia Programme, it intends to provide tools to new film projects, as well as moments of reflection and trainning thus fostering and assuring projects’ identity and quality.

Arché’s key aims are:

. To provide a space of deep reflexion on film projects and its different stages of production, contributing to its quality and thus its future career;

. To ensure that the work on the participating projects is free from immediate financial and logistical objectives, while directly focusing in the reflection on the creative process in terms of directing and production;

. To encourage the creation of collaborative networks between different projects and production structures, allowing the collaboration between independent struc-tures, thus ensuring the identity of the participating projects;

NEBULAE NEtwORK

. To provide a means of contact with international agents of high quality in an atmo-sphere of an in-depth work;

. The creation of a market model focused on projects and auteurs, approaching the production process mainly as an authorial project;

. To contribute to the integration of Portuguese authors and producers in interna-tional networks, granting access to the most important problematics, temathics and terminologies.

PROGRAMME OF ACTIvITIES

PROJECT DEvElOPMENT WORKSHOPS

Arché workshops target projects in different stages of development and produc-tion. They aim at providing projects in the writing and development stages with the necessary tools to explore the subject and reflect upon the strategies to im-plement in the film. On the other hand, they include viewing footage and/or working versions in the case of projects in the editing stage or first cuts. Participants will work collectively in the workshops, with the different projects sharing experiences, in order to question and enhance each of them.

22 – 25 October, Culturgest


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Tutors

Andrés Duque

Andrés Duque is a Spanish filmmaker who was born in Caracas, Venezuela. He works on the fringes of Spanish non-fiction with a strong documentary and es-say-like orientation. His films were shown and awarded at major international film festivals such as Cinéma du Réel, Punto de Vista and Buenos Aires. In 2012, he was invited to the Flaherty Film Seminar.

virginia García del Pino

She is part of the new Spanish auteur cinema, and she teaches in the scope of the master’s degree in documentary film at the Autonomous University of Barcelona. Her work has been widely shown internationally at film festivals and contemporary art centres. Her first feature film, El jurado (2012), entered the competition at FID Marseille, FIC Valdivia and Punto de Vista. Her short film, Improvisaciones de una ardilla (2017), won Malaga’s festival last this year.

Karen Akerman

Worked on more than 50 films as editor, having received several prizes. The films she co-directed with Miguel Seabra Lopes have been shown at numerous film fes-tivals, such as Doclisboa, Rotterdam, Visions du Réel, Uppsala, IndieLisboa and Rio, and at museums and galleries like Tate Modern or the National Museum of Contem-porary Art (Bucharest). Carries out editing workshops, master classes and labs. Has produced over 20 short films and co-produced 2 feature films.

PITCHING AND ONE-TO-ONE MEETINGS

Participants pitch their projects in 10 minutes presentations to industry guests. Producers, programmers, sales agents and other professionals attending Doclis-

press kit doclisboa'19

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boa will be invited. On the afternoon, a series of dynamic meetings between partici-pants and industry guests will take place.

21 October, Culturgest

MASTERClASSES AND ENCOUNTERS

A programme of masterclasses divided in two moments: the first one in Arché and the second in the frame of MRG//Work, during Márgenes Film Festival in November. In Arché the masterclasses will address subjects related to film pre-production and production stages. These will be individual and collective masterclasses, oriented by international experts with a focus on the Ibero-American market.

22 – 24 October, Culturgest

PROJECTS AND PARTICIPANTS

Azul

by Ágata de Pinho Production: Uma Pedra no Sapato (Portugal) Writing and development stage

Babado

by João Vieira Torres e Camila Freitas Production: Duas Mariola Filmes, A Primeira Idade (Brazil, Portugal) Development stage


El empresario

by Germán Scelso Production: Alexandra Galvis, Market Chile (Argentina, Chile) Editing stage

La memoria de las mariposas

by Tatiana Fuentes Sadowski Production: Isabel Madueño Medina, Miti Films (Peru, France) Writing stage

Los últimos

by Sebastián Peña Escobar Production: Marcelo Martinessi, La Babosa Cine (Paraguay) Writing stage

Mother Lode

by Matteo Tortone Production: Malfé Film (Italy, France, Switzerland) Editing Stage

Mussolini mi ha detto

by Toia Bonino Production: Alejandra Grinschpun (Argentina) Writing stage

O Lugar Mais Seguro do Mundo

by Helena Wolfenson e Aline Lata Production: Krassivaya Filmes (Brazil) Editing stage


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NEW PROJECT

In partnership with Spanish film festival Márgenes and with the support of the Ibermedia Programme, in 2019 Arché presents a new project: RAW: Residencies Arché→Work. RAW is a six-week itinerant programme that includes the participation in Arché, a 4-week artistic residency in Lisbon and the participation in MRG//Work, Márgenes creative development lab. RAW is aimed at two distinct groups: directors and producers with a project in development and young critics and film researchers.

Creative Residencies

The program is aimed at emerging directors and producers from one of the Iberme-dia Program member countries with an audiovisual project in development. Priority will be given to innovative, coherent and relevant proposals in the contemporary scene.

Selected Projects:

Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba sus-piraba, y cada vez que pensaba, pensaba en ti

by Pepe Gutiérrez García Production: Tatiana Graullera, Los no ricos films (México) Development Stage

Pepe

by Nelson Carlo de los Santos Production: Pablo Lozano, Tanya Valette, Monte y Culebra SRL (Dominican Republic, Colombia, France) Writing stage


Sobre las Nubes

by María Aparício Production: María Aparicio (Argentina) Writing stage

Research and Film Criticism Residencies

This program is aimed at young critics and researchers from one of the Ibermedia Program member countries, whose object of study is related to the non-fiction cinematic practice, with a focus on Portuguese, Spanish and Latin American audio-visual production. This programme aims to promote the creation of content and knowledge in order to foster the dialogue between research and contemporary filmmaking practices.

Participants:

lucia Salas (Argentina)

Abstract: Artists are settlers. And space? With Land, Lucía Salas searches for films made in Los Angeles, a never-ending city located in the USA, but which is also an extension of many lands: Latin America to the south, Asia from the Pacific and the world in all its margins.

Miguel Zozaya (Spain)

Abstract: Taking as a starting point the latest editions of Doclisboa and Márgenes, this research aims to reflect on the presence of Spanish documentary films: their thematic and formal interests, their possible genealogies and the place they occu-py, both in the history of Spanish cinema and in the current map of international non-fiction films.


JURY AND AWARDS

Chi-hui Yang

luana Melgaço

Matthijs Wouter Knol

Arquipélago – Contemporary Art Center Award for Best Project in the Writ-ing and Development Stage

RTP Award for Best Project in the Editing Stage and Works-in-Progress

FCSH Award for Best Project



Financing Models and Institutions

22 OCT / 6 pm, Culturgest – Fórum Debates

Speakers: Nuno Fonseca (Eurimages), Luís Chaby Vaz (ICA), Katharina Retzlaff (Filmförderungsanstalt), Jochen Coldewey (Nordmedia)

Moderator: Filipa Reis

Masterclass conducted in English, without translationFree entrance

Production: from inception to shooting, economies and ecologies


Speakers: Filipa Reis, Luana Melgaço, Puy Oria

Masterclass conducted in Portuguese and Spanish, without translationFree entrance

Editing: processes and materials


Speakers: Claire Atherton, Karen Akerman, Pedro Filipe Marques

Round table conducted in English, without translationFree entrance

MEEtINGS


Criticism, curatorship and political commitment

23 OUT / 3 pm, Culturgest – Fórum Debates

Speakers: Chi-hui Yang, Erika Balsom, Jason Fox, Juliano Gomes, Luís Mendonça, Susana Nascimento Duarte

Mesa redonda conduzida em inglês, sem traduçãoEntrada livre

STATE OF THE ART

In each edition one industry topic will be debated and analysed together with ex-perts. In 2019, in collaboration with Creative Europe Desks, the topic will be the dis-tribution of films in educational settings. An afternoon with speakers, discussions and group work, intending to contribute to a wider discussion about the European film market in educational settings.

Go to school: How can docs reach the educational market?

A conference and a debate on good practices as far as the educational market distribution is concerned, focussing on documentary film. The session comprises some of the best examples when approaching the school market in Europe, joined by excerpts from one “case study” film and a presentation of the Education Proj-ect model at Apordoc – Associação Pelo Documentário. Presented by the Creative Europe Desks MEDIA from Portugal, Germany, Denmark, Norway and Croatia, it brings together Portuguese and international guests openly sharing experiences and knowledge.

Excerpts from the filmSrbenka, de Nebojša Slijepčević / 2018 / Croatia / 72’

Speakers:Ana Eliseu, Os Filhos de Lumiére (Portugal)Gudrun Sommer, Duisburger Filmwoche (Germany)Martin Schantz Faurholt, Filmcentralen (Denmark)Oliver Sertić, Restart (Croatia)Tone Grøttjord, Sant & Usant (Norway)

Moderators:Susana Costa Pereira (head of the Creative Europe Desk MEDIA Portugal) Cíntia Gil (director of Doclisboa)

19 OCT / from 3 pm to 6 pm, Culturgest – Fórum Debates

The session will be held in English, with no translation Open to the public within the availability of seats


CONSUlTING

Doclisboa cares about the future of the films and projects that it presents. We provide moments for filmmakers and producers to meet with market experts, who can advise them on festivals and distribution strategies.

Madeleine Molyneaux

Madeleine Molyneaux is a creative producer and curator based in New York and Los Angeles. Her company, Picture Palace Pictures, founded in 2004, works closely with emerging and established international visual artists, musicians and filmmak-ers, to develop, produce and represent films and hybrid moving image works that often defy easy categorization. She is currently developing a feature film based on the life of the poet Charles Bukowski.

María vera

Argentinian producer, festival distributor and sales agent. Founder of Kino Rebelde, a company focused on creative distribution of non-fiction and hybrid narratives. Her films have been selected and awarded in festivals as Berlinale, IFFR Rotterdam, IDFA, Visions Du Réel, Hotdocs, DocLisboa, Mar del Plata and Viennale. María has a background as a filmmaker, producer of socio-political and human rights contents as well as a film curator.



ROUND TABlE RISE AND FAll OF THE WAll - THE CINEMA OF EAST GERMANY The DEFA, a state film studio, was founded just after World War II and remained active until 1991, producing hundreds of fiction and documentary works. How was it to film in East Germany? Taking as a starting point the films shown in the scope of the retrospective, we will reflect about film practice, censorship and propaganda. In the presence of Ralf Schenk (film historian and director of the DEFA Foundation), Volker Koepp and Thomas Heise (film directors), Agnès Wildenstein (curator of the retrospective) and Joana Ascensão (programmer at Cinemateca Portuguesa), among other guests.

DEBATE German feminists discuss feminisms before and after the fall of the Wall. Could East Germany legacy have influenced current feminist speeches and practices in Germany? What can those memories teach us in order to deal with the emerging anti-democratic and anti-feminist political trends? What brings feminists in Ger-many and in Europe together, and what sets them apart from each other? Femi-nist activist Anne Wizorek and gender studies specialist Hildegard Maria Nickel will engage in a discussion moderated by Helena Ferro de Gouveia and co-organised by Associação Mulheres sem Fronteiras e Fundação Friedrich Ebert Portugal.

PARALLEL ACtIVItIES


TAlK WITH RITA AZEvEDO GOMES, PIERRE lÉON AND JEAN-lOUIS SCHEFER After the screening of Danses macabres, squelettes et autres fantaisies, Luís Miguel Oliveira talks with the directors, Rita Azevedo Gomes, Pierre Léon and Jean-Louis Schefer. The conversation shall move from the film to Schefer’s written works—those on film, or rather those based on film, in particular. The Ordinary Man of Cinema is perhaps one of the most beautiful books ever written on our rela-tion to films, and this is a rare chance to engage with the author: a greatly demand-ing and original thinker.

SPECIAl SESSION TWENTY YEARS OF AGÊNCIA: CARTE BlANCHE TO MARIANA GAIvÃO Mekas had offered us, “As I was moving ahead occasionally I saw brief glimpses of Beauty”, rendering us a little less alone. The twenty years of Agência are a living celebration of such glimpses, brief letters shot in secret and handed over as notes in the classroom between our open hands, in an act of stubborn, accomplice resis-tance. I went through them looking for a programme, essential and unfairly limited, that would engage in a dialogue with the very nature of the Festival. I arrived at these 4 four films, which in the conscious freedom of their gesture make way for the most beautiful of encounters: Cinema, handing us back (to) the World.

Jaime / António Reis / Portugal / 1974 / 35’

Ausstieg / Jorge Quintela / Portugal, Germany / 2010/ 9’

Wake Up Leviathan / Carlos Conceição / Portugal, Angola / 2015 / 20’

High Cities of Bones / João Salaviza / Portugal / 2017 / 19’


FIlMMAKING SEMINAR

This seminar, designed in collaboration with UnionDocs Center for Documentary Art and highlighting the recipients of the newly established UNDO Fellowship along-side filmmakers in the Festival selection, will explore radical filmmaking practices and the expanding languages of documentary cinema. Four open conversations, each led by a different scholar or critical writer, will engage the work of 10 artists presented at Doclisboa’19. Each session will focus on a discrete question of rep-resentation: of historical liberation movements; of absences and exclusions in the archive; of appropriated text, images, and culture; and of the physical, sensual pro-cesses of an embedded existence. Sessions will be recorded and included in a podcast produced by UnionDocs.Erika Balsom / Éric Baudelairewith Ghassan Salhab

Dani and Sheilah ReStack / Steve Reinkewith Mania Akbari

James N. Kienitz Wilkins / Matthew Shen Goodmanwith Daniel Hui, Thunska Pansittivorakul

Nzingha Kendall / Madeleine Hunt-Ehrlichwith Camila Rodriguez Triana


OCT 17 / from 11.00 pm to 4.00 am, A Barraca Bar Opening Party

We invited Mário Valente (Salón Fuzz) to travel through the music from East Ger-many, between punk, new wave, industrial electronics and electro pop. A fully ener-gised evening echoing in the following 10 days and 10 nights.

OCT 18 / from 11.00 pm to 4.00 am, A Barraca Bar Heart Beat Opening Party: Zé Pedro rock ‘n’ roll

The opening of Heart Beat is dedicated to Zé Pedro, and so is this evening. After the film, rock ‘n’ roll goes on all night with Luís Varatojo (Peste & Sida, A Naifa) as DJ.

OCT 19 / from 11.00 pm to 4.00 am, A Barraca Bar The Agência 20th anniversary party is at the Cavern Club

We celebrate the premiere of The Cavern Club: The Beat Goes On and the 20th an-niversary of Agência da Curta Metragem by inviting Mariana Gaivão and Miguel Dias to go from the most striking moments of the legendary Liverpool club to the most intense evenings at Vila do Conde.

OCT 20 / from 6.30 pm to 8.30 pm, Selina Secret Garden lisbon Green Years Opening Party

After the Green Years opening session we go up to the terrace at Selina Secret Garden to mark the beginning of an intense journey for the most promising Euro-pean cinema.

PARtIES DOC♥BEAt


OCT 21 / from 11.00 pm to 2.00 am, A Barraca Bar Two Evenings for lil Peep

Yesterday, we premiered Everybody’s Everything, a film celebrating Lil Peep’s life and work. Today, Oseias and goth academy bring the universe of the undeniable pioneer of trap and emo revival to the dance floor at A Barraca.

OCT 22 / from 11.00 pm to 2.00 am, A Barraca Bar Oh les Filles!

Charlotte Gainsbourg, Christine and the Queens and Vanessa Paradis, among so many others in the thrilling film on French female rock that premieres today. Rafa-ela Jacinto and Teresa Vieira add other voices to these in an evening that promises to set the dance floor on fire.

OCT 23 / from 11.00 pm to 3.00 am, A Barraca Bar The Team’s Party

Once again, still no sleep.

OCT 24 / from 11.00 pm to 3.00 am, A Barraca Bar Through the legacy of Dorival Caymmi

He sang many of the most notorious Brazilian songs, which are still being per-formed by the major singers. DJ Farofa brings us samba, bossa nova and all the sounds originating from them.

OCT 25 / from 11.00 pm to 4.00 am, A Barraca Bar All in Wonderland

After the premiere of Felix in Wonderland, Viegas takes us all in a journey through the vast potential of electronic music.

OCT 26 / from 11.00 pm to 4.00 am, A Barraca Bar

Closing Party with Technoboss


JURy AND AwARDSINTERNATIONAL COMPETITION

JURY Billy Woodberry Woodberry is one of the founders of the L.A. Rebellion film movement. His first feature film, Bless Their Little Hearts (1983), is a pioneer and essential work of this movement, influ-enced by Italian neo-realism and the work of Third Cinema filmmakers. His work has been screened at Cannes and Berlin Film Festivals, the Museum of Modern Art (MoMA), Harvard Film Archive, Human Rights Watch Film Festival, Tate Modern and Centre Pompidou. Carlos Almeida Co-founder of the special effects company Irmã Lúcia and visiting assistant professor at the School of Communication, Architecture, Arts and Information Technologies of the Lusófona University. Worked with directors Pedro Costa, João Pedro Rodrigues, Gabriel Abrantes, Joaquim Sapinho and Sérgio Tréfaut. Directed the digital restoration of The Green Years and The Island of Love, by Paulo Rocha, and Abraham’s Valley and Francisca, by Manoel de Oliveira, among many others

Jérôme Bel Jérôme Bel is an experimental choreographer who provokes his audiences with presentations that often break down the traditional barrier between performer and audience, and that pose questions about virtuosity and the nature of dance. He has been invited to contemporary art biennials and museums (Tate Modern, MoMA, Documenta 13, Louvre), is regularly invited to give lectures at universities, and received several prizes, including the Bessie Award.


Juliano Gomes Juliano Gomes has a degree in film and a master’s degree in aesthetic technologies from the Federal Uni-versity of Rio de Janeiro where he studied the work of Jonas Mekas. He is a film (Cinética Magazine) and theatre critic. He teaches film and criticism history. He directed several short films, and he completed the feature film Aterro in 2019 together with Léo Bittencourt.

Leonor Silveira She has a degree in international relations and a postgraduate degree in culture law and cultural heri-tage. She joined the Institute of Cinema and Audiovisual in 2000, and is currently an advisor to the board. As an actress, she regularly featured in the films by Manoel Oliveira, and she also worked with Luís Galvão Telles, João Botelho and Paulo Rocha. She was a juror in national and international film festivals, and she received several awards. Mania Akbari Mania Akbari (Tehran, 1974) is an internationally acclaimed artist and filmmaker. Her provocative, revo-lutionary and radical films were recently the subject of retrospectives at the BFI (London, 2013), the DFI (Denmark, 2014), Oldenburg International Film Festival (Germany, 2014), Cyprus Film Festival (2014) and Nottingham Contemporary (UK, 2018). Akbari was exiled from Iran and currently lives and works in London.

AWARDS - Grand Prize City of Lisbon for Best Film in the International Competition - Prize Portuguese Society of Authors of the Jury of the International Competition


PORTUGUESE COMPETITION

JURY Daniel Hui Daniel Hui is a filmmaker and writer, a graduate of the film programme in the California In-stitute of the Arts, and one of the founding members of 13 Little Pictures, an independent film collective in Singapore. He has made three feature-length films: Eclipses (New Talent Award at Doclisboa’13), Snakeskin (Special Jury Award at the Torino Film Festival 2014), and Demons (shown at the Busan Film Festival 2018 and the Forum section of the 2019 Berlinale). Ghassan Salhab He has directed seven feature films—Ashbah Beyrouth, Terra Incognita, Atlal, 1958, Al Jabal, Al-Wadi and Une rose ouverte/Warda—all selected in various international film festivals, in addition to numerous “essays”, and different “video works”, including Heber Sini, and Aala Kad Al Shawk (with Mohamed Soueid). He collaborates on various scenarios, teaches film in Lebanon, and published texts, articles and a book, Fragments du livre du naufrage. Golgona Anghel Golgona Anghel has a doctorate in contemporary Portuguese literature from the Faculty of Letters, University of Lisbon. She currently teaches and does research at the Faculty of Social and Human Sciences, Nova University of Lisbon, where she has been studying the rela-tion between literature and cinema. She published a few essays, and put together a diplo-matic edition of Diaries, by poet Al Berto. On her spare time, she also writes poetry.

AWARDS - Prize Doclisboa for Best Film in the Portuguese Competition - Prize Kino Sound Studio of the Jury of Portuguese Competition


JURY Alice Milheiro Adjunct Director of the RTP, the Portuguese public service for broadcasting. Margarida Cardoso Studied image and audiovisual communication in Lisbon. From 1982 to 1995, worked in Por-tugal and France as assistant director, script supervisor and stage photographer. In 1995, started writing and directing her own films. Documentary films Natal 71 and Kuxa Kanema – O Nascimento do Cinema, and fiction films A Costa dos Murmúrios and Yvone Kane are among her best-known ones, screened and awarded at festivals such as Rotterdam, Venice and Locarno. Sofia Lopes Machaqueiro Lisbon, 1980. Degree in modern and contemporary history from ISCTE. Has worked as proj-ect manager in the fields of communication, public relations, events production/manage-ment, press office and marketing. The oldest granddaughter of Fernando Lopes, has always had the passion for film in her DNA. Founder of the Alvalade FilmClub. AWARD - Prize Fernando Lopes for Best Portuguese First Film - Midas Filmes and Doclisboa


JURY ETIC – Technology, Innovation and Creation School

André Amaral (Film and Television)

Filipe Oliveira ( Film and Television)

Frederica Costa (Film and Television)

Íris Dórdio (Communication Design and Multimedia)

Joana Carvalho (Communication Design and Multimedia) AWARD - Prize Schools - Prize ETIC for Best Film in the Portuguese Competition

TRANSVERSAL COMPETITION

JURY Aya Koretzky Has a degree in painting and a master’s degree in cinema. Worked in the production of feature films by directors such as Manoel de Oliveira and Flora Gomes. Collaborates with several fiction and doc-umentary directors since 2006. Took part in the Berlinale Talents in 2014. Directed Yama no Ana-ta (2011), which won the best feature-length film award at Doclisboa, among others, and A Volta ao Mundo quando tinhas 30 Anos (2018), also awarded. Jury member in several film festivals.

Sofia Bohdanowicz Sofia Bohdanowicz is a Toronto-based filmmaker. In 2018, she was named by Reverse Shot Magazine as one of 15 international filmmakers on the rise. In 2017, her second feature, Maison du bonheur”, was nominated for Best Canadian Film by the Toronto Film Critics Association and was a New York


Times Critics Pick. Her third feature film, MS Slavic 7, premiered at the Berlinale in 2019 and will be screening at the Harvard Film Archive. Veton Nurkollari Artistic Director of DokuFest, Kosovo’s largest documentary and short film festival, which he co-founded in 2002. Member of the advisory board of the Balkan Documentary Center and one of the founding members of The Albanian Cinema Project. Regularly curates film programmes for various film festivals. Mentor of several young filmmakers from Kosovo in the scope of the Heritage Space project. Member of the European Cultural Parliament and the European Film Academy. AWARDS - Revelation Prize - Prize TVCine Channels for best first long-feature (more of 60 min) of a transversal selection in all sections, except retrospectives and cinema of urgency - Prize AGEAS for Best Short-Film (till 40’) of a transversal selection to all sections, ex-cept retrospectives and Cinema of Urgency - Prize of the Public - Prize Newspaper Público for Best Portuguese Film Transversal to competitions, New Visions, Heart Beat and From the Earth to the Moon

JURY Cláudia Marques Santos Has a degree in communication sciences and a master’s degree in contemporary culture and new technologies from the Nova University of Lisbon. Cultural journalist with pieces pub-lished in Visão, Diário de Notícias, Público, Expresso and LER, among others. Author of TV cultural magazines and documentary films at Subfilmes. Has a personal slow journalism proj-ect, If You Walk the Galaxies (.com), which gathers interviews.


Filipe Reis Anthropologist, professor at ISCTE and full member of the Centre for Research in Anthro-pology. Works and does research in the field of anthropology of media and technology, fo-cussing on sound technologies and on the questioning of the notion of sound landscape. Has developed and coordinated projects involving the making and trying out of new ways of com-municating anthropology by resorting to sound and visual arts. Rossana Torres Born in Romania when her parents were political exiles, and raised by her grandparents in the Beira Baixa region. Studies visual arts and cinema in Lisbon, and then works as editor. Mentors film workshops for children and youngsters and training events for teachers in the scope of European educational programmes of teaching with cinema. Settles in the Baixo Alentejo region and co-directs three films, the last of which, Terra, was awarded at Doclisboa’18. AWARD - Prize Foundation Inatel - Prize Practice, Tradition and Heritage - Prize Foundation In-atel for Best Film of a thematic associated to practises and cultural traditions and the immaterial heritage of humanity, of a transversal selection to all sections except retro-spectives and Cinema of Urgency

GREEN YEARS

JURY Alexandra Dias Fortes Alexandra Dias Fortes is a postdoc researcher with the FCT project “Fragmentation and Reconfiguration: Experiencing the city between art and philosophy”, coordinated by Maria Filomena Molder and Nélio Conceição. She is a full member of IFILNova, and a member of the CultureLab – Art, Critique and Aesthetic Experience Group. She works mainly in aesthetics, philosophy of language, Wittgenstein, philosophy of the city, and urban aesthetics.


Katharina Tebroke Studied German and English Literature at the Free University of Berlin and received a scholarship to pursue Film Studies at the University of Exeter (UK) before working as a production assistant, project manager and junior producer in various renowned German film companies. Joined the Ger-man Film and Television Academy Berlin in 2011 as head of studies and is responsible for student productions from script development to postproduction. Sélina Boye Has a degree in arts management. After living in Brazil and in the US, she settled in Paris and started her career at The Festival Agency (TFA) in 2016. Manages festivals in Benelux, Scandinavia, Portugal, France, Switzerland, Italy, Bulgaria and Israel. Builds festivals strategy on behalf of big studios and independent producers and directors. TFA has offices in Paris, Los Angeles, Barcelona and recently Portugal, since Sélina has moved to Lisbon. Silas Tiny Was born in São Tomé and Príncipe, and emigrated with his family to Portugal at the age of 5. Studied at the Lisbon Theatre and Film School. In 2012, directed his first feature-length documen-tary film, Bafatá Filme Clube. In 2017, directed a second documentary film, O Canto do Ossobó, released and premiered at Doclisboa. Currently works on the post-production of his next film, and researches new projects for future development. AWARDS Prize DDFB for Best Film of the Green Years Special Prize McFly of the Jury Green Years Prize PEDRO FORTES for Best Directing Green Years


ARCHÉ

JURY Chi-hui Yang He has presented programmes such as MoMA’s Documentary Fortnight, “Lines and Nodes: Me-dia, Infrastructure, and Aesthetics” (2014, Anthology Film Archives) and “The Age of Migration” (2008, Flaherty Film Seminar). From 2000-2010 he was director of the San Francisco Interna-tional Asian American Film Festival. He has a master’s degree in film studies from San Francisco State University and a bachelor’s degree in political science from Stanford University. Luana Melgaço Brazilian Luana Melgaço is a partner at Anavilhana. She worked as a producer or executive producer on more than 20 short and feature-length films, notably Swirl (2010), Breath (2012), Where I Grow Old (2016), While We Are Here (2019) and Brief Story from the Green Planet (2019). Her films have been screened and awarded at the main film festivals in Brazil and abroad, and commercially released in several countries. Matthijs Wouter Knol Matthijs is the director of the European Film Market since 2014. He worked as creative producer on numerous documentary films and produced film installations, conferences and publications. He ran the IDFAcademy training programme and initiated its Summer School. He headed the Berlinale Talents (2008-2014) and co-founded the Berlinale Residency pro-gramme. He is a regular speaker and moderator at conferences and festivals and has been part of international juries.

AWARDS - Prize RTP for Best Project in phase of post-production - Prize NOVA/FCSH for Best Project of the Arché Workshops - Arquipélago Prize - Center of Contemporary Arts for Best Project in Writing Development


GUEStSOpening Session Longa Noite (Endless Night) - Eloy Enciso - 17 - 20

Clossing Session Technoboss - João Nicolau - 17 - 27 International Competition 61. La veGDRd interior (61. The Inner Truth) - Sofia Brito - 19 - 27

En Cenizas (In Ashes) - Camila Rodriguez Triana - 24 - 27

Um filme de verão (Sun inside) - Jo Serfaty - 17 - 27

Just don’t think I’ll Scream - Frank Beauvais - 23 - 26

Noli me Tangere - Christophe Bisson - 17 - 22

Journey Through a Body - Camille Degeye - 19 - 24

A New Environment Heinrich Klotz on Architecture and New Media - Christian Haardt - 18 - 20

Tinnitus - Daniil Zinchenko - 21 - 27

Under-Ground - Wook Steven Heo - 18 - 21

I'm not Pilatus - Welket Bungué - 17 - 27


Santikhiri Sonata - Thunska Pansittivorakul - 23 - 26

Tribute to Judas - Manel Raga-Raga - 18 - 22

L'ultimu sognu Last dream in Petra Bianca - Lisa Reboulleau - 19 - 23

Spit on the Broom - Madeleine Hunt-Ehrlich - 21 - 26

National Competition Lost Three Make One Found - Atsushi Kuwayama - 17 - 27

Fantasmas - Longo Caminho para Casa (Ghosts: Long way home) - Tiago Siopa - 17 a 27

Viveiro (Breeding Ground) - Pedro Filipe Marques - 17 - 27

History with no capital letter - Serge Saguenail - 17 - 27

Prazer, Camaradas! (A Plesure, Camrades!)- José Filipe Costa - 17 - 27

Vulcão: O Que Sonha Um Lago? (Volcano: What Does a Lake Dreams?) - Diana Vidrascu - 20 - 22

Curtir a Pele (Unskinned) - Inês Gil - 17 - 27

Raposa (Reynard) - Leonor Noivo - 17 - 27

Cerro dos Pios - Miguel de Jesus - 17 - 27

Outside the oranges are blooming - Nevena Desivojevic - 17 - 27

War Diaries - Luis Brás - 17 - 27


New Visions

Danses Macabres, Squelettes, et Autres Fantaisies - Jean-Louis Schefer - 20 - 22

Danses Macabres, Squelettes, et Autres Fantaisies - Pierre León - 20 - 22

A Month of Single Frames - Lynne Sachs - 23 - 27

So Many Ideas Impossible To Do All - Mark Street - 23 a 27

TELEMUNDO - James Benning - 20 - 24

A Boy Needs a Friend - Steve Reinke - 21 - 26

Sol Negro (Black Sun) - Maureen Fazendeiro - 17 - 27

This Action Lies - James N. Kienitz Wilkins - 22 - 24

Serpentário (Serpentarius) - Carlos Conceição - 17 - 27

Divinations - Sarah Vanagt - 25 - 27

Six Portraits of Pain - Teresa Villaverde - 17 - 27

The Hottest August - Brett Story

This Film is About Me - Alexis Delgado - 25 a 27

Wang Bing, tendre cinéaste du chaos chinois - Dominique Auvray - 24 - 27

AGENDA 1958 (with notes from 1960 and 65) - Pilar Palomero - 21 - 22

Manifest - Alejandro Rath - 21 - 27

Naturales Historia - Pauline Julier


History of Revolution - Maxime Martinot - 18 - 20

Vulture - Philip Hoffman - Realizador - 17 - 21

Hard as Opal / Come Coyote / Strangely Ordinary This Devotion - Dani Restack - 22 - 26

Heart Beat The Bridge - Paulo Raposo - 17 - 27

Zé Pedro Rock 'n' Roll - Diogo Varela Silva - 17 - 27

Love Essay - Zé G. Pires - 17 - 27

Dark Mysteries - Pedro Lino - 17 - 27

O Intendente é um lugar psicológico - Tiago Pereira - 17 - 27

Lemebel - Paula Saez Laguna - Produtora/Producer - 18 - 27

Lemebel - Paz Urrutia - Produtor - 18 - 27

The Quiet One - Oliver Murray - 19 - 22

The Cavern Club: the Beat Goes On - Christian Francis-Davies

The Cavern Club: the Beat Goes On - Jon Keats

YesteGDRy Mitte Tomorrow - Peter Zach - 19 - 23

YesteGDRy Mitte Tomorrow - Jana - Produtor/Producer - 19 a 23

3OHA - Clayton Vomero


Felix in Wonderland - Marie Losier - 23 - 26

The sound of masks - Sara Gouveia - 17 - 27

Mitten - Gerard-Jan Claes 22 - 25

Mitten - Olivia Rochette - 22 - 25

DORYVAL CAYMMI - Daniela Broitman - 17 - 27

Daniel Darc, pieces of my life - Thierry Villeneuve

Casa Conveniente - Barbara Balestas Kazazian - 17 - 27

From the Earth to the Moon Sonhámos Um País (We Dreamed of a Country) - Camilo de Sousa - 17 - 27

Sonhámos Um País (We Dreamed of a Country) - Isabel Noronha - 17 - 27

Suzanne Daveau - Luísa Homem - 17 - 27

Judenrein - Daniel Blaufuks - 17 - 27

Until the Sun Dies - Claudio Carbone - 17 - 27

THE LAST PORT - Beyond the bridge - Pierre-Marie Goulet - 17 - 27

Blow It to Bits - Lech Kowalski - 25 - 26

Chão (Landless) - Camila Freitas - 17 - 27

O último sonho (The last dream) - Alberto Álvares


Palimpsest of the African Museum - Matthias De Groof - 17 - 20

The Brink - Alison Klayman - 22 - 27

On Air - Manno Lanssens - 24 - 27

Brexit Behind Closed Doors - Lode Desmet - 17 - 19

Un film dramatique - Sabou Fofana - 23 - 24

Un film dramatique - Dafa Diallo - 23 - 24

Un film dramatique - Manon Bordes - Tutor - 23 - 25

Un film dramatique - Hélène Maes - Produtor/Producer - 23 - 25

Adolescentes - Sebastien Lifschitz

La vida en común - Ezequiel Yanco - 22 - 24

Doc Alliance

Odyssey - Sabine Groenewegen

Behind our eyes - Anton Bialas

Shelter: farewell to Eden - Enrico Masi


Retrospective Wittstock Girls / Back in Wittstock / Wittstock III / Living and Weaving / March Brandenburg Bricks /March Brandenburg Heath, March Brandenburg Sand / March Brandenburg Inc. - Volker Koepp - 21 - 23

Who’s afraid of the Bogeyman / After Winter comes Spring - Helke Misselwitz

Heimat is a space in time / Why make a film about people like them? / People’s police force / The House /Snack Bar Special / Iron Age - Thomas Heise - 21 - 23

Alfred / Leipzing in the fall / Last Year Titanic - Andreas Voigt - 23 - 27

DEFA - Ralf Schenk

Cinema of Urgency O que vai acontecer aqui? (What is going to happen here?) - Colectivo Left Hand Rotation - 17 - 27

Green Years Opening Session Thirty - Simona Kostova - 19 - 20

Green Years Competition My American father - Justine Abitbol - 20 - 27

My American father - Félix Cornu - 20 - 27

Northern Malady - Gerrit Kuge - 19 - 27

A family tail - Natalia Ciepiel - 21 - 27


No Nos Representan - Irene Munoz - 21 - 25

Recorded Dreams #1 - Jonathan Ospina - 24 - 27

Frozen in Time - Simona Viackute - 24 - 26

Un Tout Petit Pays - Pauline Laplace - 19 - 26

And we'll be happy again - Krzysztof Wołżański - 19 - 22

And we'll be happy again - Iga Koclęga - 19 - 22

Notes from the Neighbourhood - Laura Engelhardt

Simulacro (Simulacrum) - Duarte Maltez - 17 - 27

Casa na Praia (Beach House) - Teresa Folhadela - 17 - 27

Rio Torto - Mário Veloso 17 - 27

Há Margem (There’s Margin) - Filipe Oliveira - 17 - 27

When Your First Son Gets Up To No Good - Jacob Oduwole - 17 - 27

Layover - Julia Milz 19 - 26

What We Were - Melanie Walde - 23 - 25

Filmmaking Seminar - Fellows UNION DOCS Erika Balsom - Tutor - 21 - 25

Dani Restack - Tutor - 22 - 26


James N. Kienitz Wilkins - Tutor - 22 - 25

Nzingha Kendall - Tutor - 21 - 26

Madeleine Hunt-Ehrlich - Tutor - 21 - 26

Matthew Shen Goodman - Tutor - 17 - 26

Sheilah ReStack - Tutor - 22 - 26

Steve Reinke - Tutor - 21 - 27

ARCHÉ Karen Akerman - Tutor - 19 - 26

Andrés Duque - Tutor - 19 - 26

Virginia del Pino - Tutor - 20 - 24

Miquel Martí Freixas - Tutor - 20 - 25

Puy Oria - 20 - 23

Claire Atherton - 23 - 25

Rodolfo Castillo-Morales (Fito) - 18 - 23

Maui Alena - 17 - 26

Anabelle

Mussolini mi ha detto - Toia Bonino - 17 - 27Los últimos - Sebastián Peña Escobar - 17 - 27


O Lugar Mais Seguro do Mundo - Aline Lata - 17 - 27

O Lugar Mais Seguro do Mundo - Helena Wolfenson - 17 - 27

Babado - Camila Freitas - 17 - 27

Babado - João Vieira Torres - 17 - 27

El empresário - Germán Scelso - 17 - 27

Mother Lode - Matteo Tortone - 17 - 27

Lucia Salas

Miguel Zozaya

Pepe - Nelson Carlo de los Santos Arias - 17 - 27

Sobre las nubes - Maria Aparício - 17 - 27

La memoria de las mariposas - Tatiana Katiuska Fuentes Sadowski - 17 - 27

La memoria de las mariposas - Isabel Madueño - 17 - 27

Azul - Ágata de Pinho Lopes - 17 - 27

Miraba caer las gotas iluminadas por los relámpagos, y cada que respiraba suspiraba, y cada vez quepensaba, pensaba en ti - Pepe Gutiérrez (José de Jesús Gutierrez García) - 17 - 27

Jury Juliano Gomes (International Competition) - 17 - 26

Jérôme Bel (International Competition) - 17 - 26


Mania Akbari (International Competition) - 19 - 26

Carlos Almeida (International Competition) - 17 - 27

Billy Woodberry (International Competition) - 17 - 27

Leonor Silveira (International Competition) - 17 - 27

Daniel Hui (National Competition) - 18 - 26

Ghassan Salhab (National Competition) - 17 - 26

Golgona Anghel (National Competition) - 17 - 27

Veton Nurkollari (New Talent Award)- 18 - 26

Sofia Bohdanowicz (New Talent Award) - 17 - 27

Aya Koretzky (New Talent Award) - 17 - 27

Matthijs Wouter Knol (Arché)

Luana Melgaço (Arché)

Chi-Hui Yang (Arché)

Silas Tiny (Green Years) - 17 - 27

Alexandra Dias Fortes (Green Years) - 17 - 27

Katharina Tebroke (Green Years) - 20 - 26

Selina Boye (Green Years) - 17 - 27

Filipe Reis (INATEL Award) - 17 - 27


Rossana Torres (INATEL Award) - 17 - 27

Claudia Marques Santos (INATEL Award) - 17 - 27


PARTNERS

Lisbon Municipal Council

Documentary film is one of the most powerful forms of cultural expression and more than ever a crucial means to consolidate our memories and our collective his-tory. At a time when we witness the return of new fractures and the enforcement of borders in Europe, which seemed to be moving in the opposite direction in the last few decades, Doclisboa’s programme this year features an emblematic retro-spective: “Rise and Fall of the Wall – The Cinema of East Germany”. It showcases the abundant cinematic production in the German Democratic Republic since the end of the Second World War, which for half a century led to the partition of Ger-many, Europe and the world. This year marks the 30th anniversary of the fall of the Wall, which serves as a motto for the retrospective. The peaceful revolution leading to the reunification of Germany on November 9, 1989, redesigned Europe’s contem-porary history, making for the end of the Cold War and its ideologies, and paved the way for the global era. Today, however, new walls are being built, and differences and backward steps are once again rising everywhere. So that history does not re-peat itself, it is more important than ever to revisit that recent past, always bear-ing in mind what drove us to so many tragedies.The Lisbon Municipal Council once again supports this edition of Doclisboa, con-gratulating its organisers and programmers.

Catarina Vaz PintoCouncillor for Culture and Foreign Relations


EGEAC

On its way to symbolic adulthood, Doclisboa has been able to reinvent itself with both the city and cinema. As its motto in fact states: in October, the whole world fits in Lisbon. Cinema São Jorge has been a faithful ally in this partnership, also looking to adjust to the new demands and responsibilities a festival such as Doclis-boa entails. In the last few years, a significant investment has been made in what is one of the last venues of its kind in Lisbon, in order to reconcile those demands with the constraints associated with a theatre from the 1950s and that is classified as municipal heritage. Those responsible for the Festival thus know they can rely on our passionate diligence to provide Cinema São Jorge with the best possible conditions so that this venue continues to open its doors to the filmmaking that counts—documentary films, author films, experimental films and committed films. Shouldering that vocation, Cinema São Jorge has sheltered new forms of narrative and the way they read, reflect upon and question todays’ world. Such stance is a reflexion of the public service mission undertaken by Cinema São Jorge and EGE-AC, upholding their unconditional support to cinema and its promotion. That is the compromise we’ve taken on for a long time with those producing, programming, distributing and watching some of the best cinema screened in the city.

Joana Gomes CardosoChairwoman of the Board


Culturgest

In the last edition of Doclisboa signed by Cíntia Gil, it is only fair and appropriate to highlight some of its remarkable features and qualities. The first word that comes to mind is urgency. Over the years, Doclisboa has presented films for numerous reasons, but always firmly and with a sense of responsibility: because it was import-ant to explore the work of some filmmaker—perhaps still little known among us or unfairly forgotten—, because it was urgent to discuss an issue or point out a voice, because a given film revealed new paths for contemporary cinema… or simply to show “the worlds of yesterday, today and tomorrow, through powerful visions and stories”, not in order to attain some alleged truth, but to sharpen critical aware-ness and foster public debate. Another word characterising the Festival’s journey is consistency. Like few other initiatives in the field of the arts, Doclisboa has been able to create its very own discourse and profile by means of its programme and the many parallel initiatives, thus showing along the way it is possible to attract a larger, growing audience, and guaranteeing an offer of the highest quality and demand year after year. Lastly, an inevitable word for an initiative that managed to hang on and expand over the course of 17 editions in a country where funding for the arts is limited and unreliable: persistency. That is what makes us look to the future of Doclisboa with confidence.

Mark DeputterAdministrador / Director


Cinemateca Portuguesa - Museu do Cinema

Continuing to evoke key elements from the history of documentary film and film tout court, the partnership between Cinemateca and Doclisboa this year focusses on “East Germany’s” productions, from just after World War II to the reunification of the country. This is no minor contribution to that bigger history, which in this case is even mentioned as history of all filmmaking in 20th century Europe. Follow-ing one of the most dazzling contributions for world cinema (during the Weimar Re-public, between 1919 and 1933), German cinema was subject to consecutive political censorship that not only shaped it, but also turned it into a massive puzzle difficult to solve for several generations. The rupture introduced by the Nazis, its traumatic trail during a lengthy post-war period, and the scission caused by the splitting of the territory, all of it, in different, but cumulative ways, created the notion of sep-arate worlds, which is as true as it is deceitful. Cinemateca has tried to rebuild the puzzle several times, the last crucial attempt being the programme, GFR 1949-63: Loved Ones and Rejected Ones. For its part, this retrospective dedicated to “the other side”, which by and large consists of DEFA’s productions, closely follows yet another incursion into Weimar cinema. There are several links between the two programmes. One could highlight the chance to watch the extraordinary Irgenwo in Berlin (Somewhere in Berlin) right in the opening session of this programme, for instance. Its director, Gerhard Lamprecht, went through every step, from the 1920s to the 1950s, and in this film resumed his remarkable tilt toward realism of Die Verrufenen (In the Slums of Berlin), a 1925 film we’ve just shown in the Weimar programme. The 1946 portrait of a devastated Berlin, however, is just the begin-ning of an intense sequence of surprises that will make us better understand a cinema, a country and a time whose manifold faces once again disclose their com-municating vessels to us. On the occasion of this significant retrospective (joined by a session of short films in the scope of the tribute the festival pays to Jocelyne Saab), Cinemateca once again congratulates Doclisboa and the effort of all its part-ners, stressing the priceless common heritage that is the series of co-organised programmes.

José Manuel CostaDirector


ICA

Writing about Doclisboa is first and foremost considering its identity and the unde-niable quality of its programme, which reflects it. The opening and closing sessions feature two major works: Longa Noite, by Eloy Enciso, and Technoboss, by João Nicolau, respectively. The Festival’s riches continue with the From the Earth to the Moon section and its more than 20 films by directors such as Werner Herzog, Lech Kowalski, Teresa Villaverde and Billy Woodberry, among many others. Reference should also be made to Nebulae, the Festival’s new area, a reference space for the creation, production and promotion of independent films, but also for discussing and debating among peers, with documentary film acting as a motto to reflect upon the world. While a festival is fundamentally as good as its programme and the sec-tions it comprises, its identity comes across from the imprint left by those heading it. In this 17th edition of Doclisboa, we can’t help but commend and be grateful for all the work carried out by the current direction on its way out. The bright, sensi-tive, dignified and dedicated way in which it undertook its task, in the pursuit of a clear vision, voraciously eager to safeguard and honour cinematic art, was essential for Doclisboa to assert itself and mature. We wish the direction of Doclisboa and the entire team that put its vision in place great success!

Luís Chaby VazChairman of the Governing Board

CONTACTS

Press Officer Teresa [email protected]

Press Officer AssistantSusana [email protected]

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c o - f i n a n c i a m e n t o a r c h é /a r c h é c o - f i n a n c i n g

P a R c E R I a E S T R a T é g I c a /S T R a T E g I c P a R T n E R

c o - P R o d u ç ã o /c o - P R o d u c T I o n

P A R C E I R O L E G A L /L E G A L PA R T N E R

a p o i o s p r é m i o s /a W a r D s U p p o r T

h o T E l o f I c I a l /o f f I c I a l h o T E l

S E g u R a d o R a o f I c I a l /o f f I c I a l I n S u R a n c E c o m P a n y

v I a T u R a o f I c I a l /o f f I c I a l v E h I c l E

a P o I o S / S u P P o R T E S c o l a a S S o c I a d a /a S S o c I a T E d S c h o o l

a P o I o S /S u P P o R T

c o - P R o d u ç ã o R E T R o S P E c T I v a a S c E n S ã o E Q u E d a d o m u R o – o c I n E m a d a g E R m a n y d E l E S T E /R I S E a n d f a l l o f T h E W a l l – T h E c I n E m a o f E a S T g E R m a n y R E T R o S P E c T I v E c o - P R o d u c T I o n

t e l e v i s ã o o f i c i a l /o f f i c i a l t e l e v i s i o N

s a l a p a r c e i r a /p a r t N e r v e N U e

p a r c e i r o s m e d i a /m e d i a p a r t N e r s

a P o I o S n E B u l a E /n E B u l a E S u P P o R T

a P o I o À P R o g R a m a ç ã o /P R o g R a m m E S u P P o R T

a P o I o À R E T R o S P E c T I v a a S c E n S ã o E Q u E d a d o m u R o – o c I n E m a d a g E R m a n y d E l E S T E /R I S E a n d f a l l o f T h E W a l l – T h E c I n E m a o f E a S T g E R m a n y R E T R o S P E c T I v E S u P P o R T

MCFLy

P A T R O C I N A D O R C L I P P I N G /C L I P P I N G S P O N S O R

A P O I O S A R C H É /A R C H É PA R t n e R S

A P O I O S P R O J E C T O E D U C A T I V O /E D U C AT I O n A l P R O J E C T S U P P O R T

culturgest cinema são jorge cinemateca international film ... · synopsis a few years after the...

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