Through the short films, IndieLisboa looks at the future.
For the first time since the festival’s creation, IndieLisboa will award the best short films in the categories of Animation, Fiction and Documentary, other than the award for Best Short Film. A decision which proves that sections has conquered an important role in the discovery of the best filmmakers of the future. This way, on its 14th edition, IndieLisboa reinforces its mission to promote the films that come from new voices, by valuing the work of directors who dare to venture in their first films. The jury of the International Competition of short films will be composed of Filipe Abranches, professor, director and illustrator, Katja Pratschke, director who is being focused on in the Silvestre section, and Richard Raskin, scriptwriter, journalist, film critic in several publications and editor of the Short Film Studies magazine.
The official selection of short films in competition presents 49 films, on what seems like a trip around the world, which serves as a mirror of a diversified set of visions and themes. The search for the invisible is the great starting point of the program, which sees the return of the great animator Nicolas Ménard, now in search of a “Goddard” in a mountain (Wednesday with Goddard); Duncan Campbell – winner of the Turner Prize in 2014 and, before that, in competition with the stimulating Bernadette – now brings The Welfare of Tomás Ó’Hallissy; the Finnish Salla Sorri (Silencio) tries to understand a young girl who only needs some attention; Lucas Doméjean, after the amusing Retarded 2, makes a even funnier kind of sequel, where the Lidl supermarkets continue to be the place where you want to hang out with friends (Nirvana); or Camilo Restrepo, who, after having received a special mention for La Imprésion de una Guerra in the last IndieLisboa, now follows a girl who obsessively looks for her father (Cilaos).
From Poland come four animation films and one documentary in a way that proves the vitality of the Polish cinema in its different expressions. From Sundance, the film which won the short film grand jury prize, And So We Put Goldfish in the Pool, by Japanese doctor Makoto Nagahisa, who has been the great sensation of asian film festivals, and Hot Winter: a film by Dick Pierre by Jack Henry Robbins, a film whose political and sexual themes defy America’s Donald Trump. Among the Portuguese films, we have the return of Joana Pimenta (awarded at IndieLisboa for her first work) with An Aviation Field, and Nyo Vweta Nafta, by Ico Costa, who has had an impressive run in the festival circuit since his premiere and was recently awarded at the Festival de Cinema du Réel. In terms of world premieres and also in a return to IndieLisboa, we have Jorge Jácome (Flores), Hugo Pedro (Turno da Noite) e André Ruivo (Circo).
Animation
489 Years, Hayoun Kwon (France)
Amalimbo, Juan Pablo Libossart (Sweden)
Beside Oneself, Karolina Specht (Poland)
Circus, André Ruivo (Portugal)
Impossible Figures and other Stories II, Marta Pajek (Poland)
Ink Meets Blank, Tymon Albrzykowski (Poland)
I don’t Feel Anything Anymore, Noémie Marsily, Carl Roosen (Belgium, Canada)
Play Boys, Vincent Lynen (Belgium)
Pussy, Renata Gasiorowska (Poland)
The Waves, Oscar Lewis (United Kingdom)
Wednesday with Goddard, Nicolas Ménard (France)
Documentary
Before the Flight, Laurence Bonvin (Switzerland)
An Aviation Field, Joana Pimenta (USA, Portugal)
The Benevolent Dictator, Bernhard Braunstein, Martin Hasenöhrl, Albert Lichtblau (Austria)
Close Ties, Zofia Kowalewska (Poland)
Down the Throat, Matteo Gariglio (Switzerland)
Find Fix Finish, Mila Zhluktenko, Sylvain Cruiziat (Germany)
Fraktur, Gilles Ribero (France)
The Hollow Coin, Frank Heath (USA)
NO’I, Aline Magrez (Belgium)
Nyo Vweta Nafta, Ico Costa (Portugal, Mozambique, Argentina)
Ocean Hill Drive, Lina Sieckmann, Miriam Gossing (Germany)
Pattern Language, Peter Burr (USA)
The Rabbit Hunt, Patrick Bresnan (USA)
Rubber Coated Steel, Lawrence Abu Hamdan (Lebanon)
Simba in New York, Tobias Sauer (Germany)
Stand-by Office, Randa Maroufi (France/Holand)
On the Road, Annabelle Amoros (France)
Fiction
Your Young Years Will Dry Your Tears, Alexis Langlois (France)
And So We Put Goldfish in the Pool, Makoto Nagahisa (Japan)
Centaur, Nicolás Suárez (Argentina)
Cilaos, Camilo Restrepo (France, Chile)
The Guilt, Probably, Michael Labarca (Venezuela)
DeKalb Elementary, Reed Van Dyk (USA)
Dreaming of Baltimore, Lola Quivoron (France)
The Summer Movie, Emmanuel Marre (France)
Flores, Jorge Jácome (Portugal)
Fog, Adrian Voicu (Romania)
Hot Winter: a film by Dick Pierre, Jack Henry Robbins (USA)
Martin Cries, Jonathan Vinel (France)
Nirvana, Lucas Doméjean (France)
No drowning, Mélanie Laleu (France)
The Off-Season, Yelzat Eskendir (Kazakhstan)
Out of Reach, Efrat Rasner (Israel)
Sakhisona, Prantik Basu (India)
To Silence, Sala Sorri (Finland, Cuba)
Night Shift, Hugo Pedro (Portugal)
Watchkeeping, Karolis Kaupinis (Lithuania)
The Welfare of Tomás Ó’Hallissy, Duncan Campbell (Ireland, United Kingdom)
Wild Hope, Audrey Bauduin (France)
Written/Unwritten, Adrian Silisteanu (Romania)