Doclisboa seeks to imagine reality through new cinematic forms of perception, reflection and action, placing filmmaking into dialogue with its history to question the present of cinema. Doclisboa is interested in films that are rigorous about their conceptual and formal implications; films that experiment with cinema’s artistic and political possibilities and refuse to be categorized; films that engage with and mirror the complexity of the world. Doclisboa offers a ground where cinema and the contemporary are investigated as acts of being together in, and with, time.

doclisboa

New Visions

Happily Ever After

Nihayat Saeeda

Nada Riyadh, Ayman el-Amir

2016 • Egypt • 68’

Amidst the chaos of the 2011 revolution in Egypt, Nada Riyadh sees Ayman, the man she loves, leave to study filmmaking in the United States. His departure plunges her into a feeling of anxiety that echoes the developments of the revolution in Egypt and allows her to question the historical and actual meaning of political commitment.

24 Oct / 18:45 / 99’

São Jorge – Sala 3

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SCREENED WITH

Permissible Dreams

Atteyat al-Abnoudi

(…) The Same River

A Kid’s Flick

Casa sobre Casa

Children’s Games

Dallas is a Fire

Failed Emptiness. Time

Fishing for Atlantic Herring Outside Aalesund 1914

Ghosts from the Past (How History Got into Me)

Himala: A Dialectic of Our Times

Kinorama – Beyond the Walls of the Real

Kits Beach Soundwalk

Nazaré, Praia de Pescadores

Ópera dos Cachorros

Pancake Machine

Permissible Dreams

Rumi X Phantasm

Sad Song of Touha

Sounds from Beneath

The Body Beautiful

The Capacity for Adequate Anger

The Eye of the Tourist: XIII Easy Pieces

The Inventory Will Be Drawn Up at 11 a.m. in the Presence of the Poet’s Wife

The Rainbow Island

The Song of the Chrysalis

The Stillness Syndrome

There’s no Tomorrow

Two Sons and a River of Blood

Um Ghayeb – Mother of the Unborn

Under the White Mask: The Film that Haesaerts Could Have Made

Verão Coincidente

What Comes Around

What the Water Said, Nos. 1-3