Filmmaking Seminar

In this edition of the Filmmaking Seminar, once again designed in collaboration with UnionDocs – Center for Documentary Art, we will explore radical filmmaking practices through collectively built research and conversation.

The Seminar comprises three sessions, and each encounter will be guided by a critic invited by RAW, who will address distinct film works presented during the Festival. The selected participants will watch the films and be encouraged to combine knowledge, raise questions and share epiphanies to guide the thinking on the abundance of compelling images and sounds they will encounter together. The group will deconstruct preconceptions and find useful ways to approach the questions and insights that these films present through a series of talks that will be a part of a greater, collective experience.

This year, the participants will have the opportunity to get involved with a new itinerant series of interconnected events called Artistic Differences. It is being developed in festivals across the world, and it will now make a stop in Lisbon. This collaboration includes access to the collection of recently restored films by the Cine Mujer collective and to the Study Group, featuring a contribution by Karina Solórzano.

Free, subject to a selection process
Maximum number of participants: 30

The call for applications has already closed.

If you have any questions, please write to industry@doclisboa.org

The Filmmaking Seminar is organised in partnership with UnionDocs – Center for Documentary Art.

Sessions

OCT 1 / 4.00 pm (UTC+1), on-line
Study Group (for selected participants who applied before the 28th September)

OCT 14 / from 2.00 pm to 6.00 pm, São Jorge 2
First session – Karina Solórzano on Cine Mujer collective

OCT 15 / from 2.00 pm to 6.00 pm, São Jorge 2
Second session – Sasha Pirker with Salvador Amores

OCT 16 / from 2.00 pm to 6.00 pm, São Jorge 2
Third session – Andrés Jurado with Mariana Souza

Selected participants will be provided invitations to watch the following films in the screenings indicated:
Artistic Differences: Making a Face and a Fist – 13 OCT / 6 pm, São Jorge – Sala 3
Me and Ma and Everything and Nothing by Sasha Pirker – 14 OCT / 7 pm, São Jorge – Sala 3
Yarokamena by Andrés Jurado – 15 OCT / 9.30 pm, São Jorge – Sala Manoel de Oliveira

The seminar will be held onsite and in English, with no translation
The participation is restricted to selected participants
Sessions will be recorded

Authors from Doclisboa Film Programme

Andrés Jurado

Directed the short films Yarokamena (2022), The Rebirth of the Carare (2020) and Fu (2019). His works have been presented in multiple festivals, exhibitions, and shows such as Berlinale Forum, Berlinale International Film Festival, FIDMarseille and Docs Buenos Aires, among others. It received a special mention for the Flash competition award at FIDMarseille. Welcome Interplanetary and Sideral Conquerors is his first feature film.

Cine Mujer

Coletivo Cine Mujer existed between 1975 and 1986 and was a pioneer in the articulation of an openly feminist cinema in Mexico. Formed by students from the National School of Film Arts, they produced films that challenged the dominant portrayal of women in Mexican society at the time.

Sasha Pirker

Artist and filmmaker, born in 1969 in Vienna. Studied linguistics in Vienna and Paris. Since 2006, teaches at the Academy of Fine Arts Vienna in the fields of film, video and art.

Raw Programme Critics

Karina Solórzano

Karina Solórzano writes freelance film critique for several media outlets in Mexico and Latin America. She is part of a group of women that edit the site La rabia, a space for film criticism and feminism. She is also a member of the programming staff of the FICUNAM festival.

Mariana Souza

Film curator focusing on the frontiers between visual languages, and idealiser of Correnteza – International Showcase of Atlantic Cinema. She studies the legacies of the Black diaspora and of the indigenous presence in America, as well as their influence on contemporary visual culture and on deviating representations of femininity in film. She’s carrying out a study on the multiple identities and on the American diasporas based on moving images.

Salvador Amores

Curator of FICUNAM’s section devoted to avant-garde film and of programmes for institutions in Mexico such as the Frida Kahlo Museum and the National Cinematheque. Oversees FICUNAM’s Forum of Permanent Criticism and has written on film for several publications and the Locarno Film Festival. Recently co-founded El Cine Probablemente, a print-only magazine of which he is one of the editors-in-chief. Has also worked as a screenwriter and editor.