18 March 2018
13h00 Competitive Section I
António and Catarina (Cristina Hanes)
The two halves (Gwenn Joyaux)
Barbs, Wastelands (Marta Mateus)
The Foreigners (Rita Al Cunha)
15h00 Competitive Section II
The fear installation (Ricardo Leite)
Making a Living in the Dry Season (Ines Ponte)
Lemon Tree (Joana Silva)
Crutches (Luis Campos)
17h00 Competitive Section III
September (Leonor Noivo)
Teresa (Tânia Dinis)
Laura (Tânia Dinis)
Delphine Imprisoned (Ricardo Pinto de Magalhães)
The Artificial Humours (Gabriel Abrantes)
All films are subtitled in English.
Competitive Section I
António and Catarina
A 70-year-old man and a 25-year-old woman share a candid and twisted relationship with a deadline. Trapped in one room, António and Catarina are negotiating the terms of their relationship.
The two halves
Aristotle, Cleopatra and Darwin considered earthworms essential, even sacred creatures. But the only thing we learn about earthworms it's that if someone cut them in half, they will regenerate. This story demystifies that belief. This is a story about someone who was cut in two when she was born, but only one half made it through. The half with the head survived, as earthworms do.
In the end of the 19th century the peasants in Portugal started a courageous struggle for better work conditions. After generations of starving misery, the Carnation Revolution sowed the promise of an Agrarian Reform. Mostly in the Alentejo region, these rural workers occupied the huge properties where they were once submitted to the power of their Masters. Perhaps the lost seed of other fruits...
It is said in Alentejo, when something is lost, those who are looking should start to walk back to the beginning. We must pray and ask Saint Lucy to clear our vision, so we can see and look better.
The protagonists of this film, resistants of this struggle, many of them illiterate, working since childhood, tell their story to the youngsters of today, in their own words.
Rita Al Cunha
The discovery of a village in the northern border of Portugal, where melancholy dictates the fate of Men. A story about the bravery of leaving and the resilience of staying in a land indifferent to sorrow.
Competitive Section II
The fear installation
The woman opens the front door. Two men appear: "Good morning, my lady, we came to install fear."
Making a Living in the Dry Season
Set in the highlands village of Katuwo, the film is an intimate portrait of the day-to-day life of a family living in an agro-pastoralist farm in Namibe, Angola. Through the filmmaker’s request to her host Madukilaxi to put her skills into the making of a doll, the film addresses a twofold notion of labour taking place in the dry season: their shared doll-crafting and making a living. Lipuleni, Madukilaxi's toddler, follows their twofold labour, and the three of them celebrate their efforts with a feast.
A film about a fictional character whose body is assembled from memories embedded in an abandoned space.
A broken family gets together for Christmas dinner when their mentally ill daughter comes home for the first time since she was institutionalized.
Competitive Section III
Nights and days roll in like a braking train. Mother and son return to their country, their city, their past, after years spent abroad. They take diverging paths to reclaim what has been lost; the son in search of an absent father, the mother seeking the possibility of love. From this confrontation a new gesture is born — the beginning of a metamorphosis, a reencounter in a time and space that is theirs only.
The fragmented image of an intimate record. The impression left by moments forgotten in time, but ready to emerge from oblivion to enable the telling of a possible story: the story which we want to behold.
Laura is an essay film whose inception began from a project of research and collection of familial photographical archives. It departs from the exploration of the notion of images as bygone experiences in time which, from that timelessness, expand in space, thus creating small narrative moments.
Ricardo Pinto de Magalhães
I can't help but having the feeling that Delphine Seyrig was constantly trapped in her films. Trapped in time, space, memory, routine, to a certain place and many others types of prisons. This film essay tries to prove this while at the same time, trapping her once again, perhaps forever, in this film, which can also work as a loop.
The Artificial Humours
A film about humor, anthropology and artificial intelligence. It focuses on how humor is central to human relationships across, used as a form of social control, and one of the most complex forms of communication. The film was shot in Mato Grosso (Canarana and the Yawalapiti and Kamayura villages inside the Xingu Indigenous Park) and São Paulo. Blending a certain Hollywood aesthetic with documentary approaches, the film tells the story of an indigenous girl who falls in love with a robot that is a rising stand up comedian in Brazil.