New films that plunge into the memory of cinema as its main inspiration and films that rework the cinematographic visual heritage. The section unfolds in a Director’s Cut In Context, featuring works in which the heritage of those who made history in cinema is materialised.
- O Amor Dentro da Câmera, Jamille Fortunado, Lara Beck Belov | doc., Brazil, 2021, 85’
- Around Rocha’s Table, Samuel Barbosa | doc., Portugal/Japan, 2021, 94’
- Diálogo de Sombras, Júlio Alves | doc./exp., Portugal, 2021, 60’
- Edge of Doom, Michaela Grill | doc./exp., Austria, 2020, 3’
- Fitas Cirúrgykas, Edgar Pêra | exp./fic., Portugal, 2021, 10’
- Forensickness, Chloé Galibert-Laîné | doc., France/Germany, 2020, 40’
- Hopper/Welles, Orson Welles | doc., USA/Poland, 2020, 130’
- The Last Stage, Wanda Jakubowska | fic., Poland, 1948, 109’
- Lost and Found, Clara Cullen | doc., Argentina, 2020, 35’
- Lotte Eisner. A Place, Nowhere, Timon Koulmasis | doc., France/Germany, 2021, 60’
- Patent Nr. 314805, Mika Taanila | doc./exp., Finland, 2020, 2’
- There Are Not Thirty-Six Ways of Showing a Man Getting On a Horse, Nicolás Zukerfeld | doc./exp., Argentina, 2020, 63’
- Thinner Than Two Ten-thousandths of a Millimetre, Gregor Eldarb | exp., Austria, 2020, 8’
- Watching the Detectives, Chris Kennedy | doc./exp., Canada, 2017, 36’
DIRECTOR’S CUT – IN CONTEXT
- Blood, Pedro Costa | fic., Portugal, 1989, 95’
- The Green Years, Paulo Rocha | fic., Portugal, 1963, 91’
- Silver River, Raoul Walsh | fic., EUA, 1948, 110’
- Tabu: A Story of the South Seas, F.W. Murnau | fic., EUA, 1931, 81’
- Três Dias Sem Deus, Bárbara Vírgina | fic., Portugal, 1946, 25’