Awkward situation when the desire to have a bath takes you much farther that planned.
Realizador:
Less than two hundred feet away from the prison cell of the world’s most famous political prisoner, a vigil group follows the outcome of the most important presidential elections of the last 30 years in Brazil.
As three 19 years old friends get together, doubt grows over their long-lasting friendship.
During the summer of 1990 in Chile, a small group of families lives in an isolated community, in the aftermath of end of the dictatorship. In this time of change and reckoning, Sofía, Lucas and Clara struggle with parents, first love, and fears.
It’s summer on an amusement park in the Paris suburbs. A land of adventures, flirting and transgression for some, a place to hide out or take a break for others. It’s like a childhood kingdom waiting to be explored, resonating with the turmoil of today’s society.
After the austere revision of the historical film in the previous Jeanne la pucelle (1994), Rivette conceived Haut bas fragile under the sign of musical cinema. “Inspiration? MGM’s low budget films of the fifties, shot in four or five weeks, using sets left by other films; in particular a Stanley Donen film called Give a Girl a Break“(Rivette). Here is a film with a group of girls, songs and dance numbers. Anna Karina’s special starring suggests that Haut bas fragile also intended to evoke the “Nouvelle Vague spirit”. (Cinemateca Portuguesa)
In “The Kite”, we learn, through the relationship between the little boy and his grandpa, that none of us are here forever and also that death doesn’t mean the end of our journey.
Telling the story of a French deserter who joins a Swiss far-right group, from which he later tries to flee for the love of a woman, Le petit soldat was one of Godard’s most controversial films, accused at the time of “fascism” by part of the official left and banned in France for three years, for the many allusions to the Algerian War, then at its peak. It is also the film of Godard’s first encounter with Anna Karina, who every time she enters the scene steals all the light around her. And the film of the celebrated aphorism that comes from a speech about photography, cinema and the truth: “”Photography is truth. Cinema is truth twenty-four times per second.” (Cinemateca Portuguesa)
A journey around Lisbon’s suburbs through the lives of a handful of musicians. Different generations and backgrounds meet, Angola to São Tomé, Cape Verde and Guinea-Bissau represented by old-school musicians and young producers.
The relationship between a mother and her son, living on a sailboat, is disturbed by the arrival at the harbor of a group of young people, partying on the adjacent vessel. The mother realizes that her child sees in them a promise of a adolescence he never had.
Emmanuel Chanda is a Zambian gemstone miner who was the lead singer of Witch, the country’s most popular rock band of the 1970’s. In 2016, Dutch artist Jacco Gardner visited Zambia to meet, play and record material together with him.
It is not the usual documentary about an artist, in this case the filmmaker Pedro Costa, nor a synthesis of the whole of his work. Among other merits Sacavém finds an angle to speak of a major figure of contemporary cinema without resorting to the usual methods or to mimic Costa’s cinema. Júlio Alves finds a fair distance to read the work without the weight of reverence, connecting characters and recurring objects, starting from Casa de Lava to the next film, showing the continuity between the vision of the director and the world that inspires him (a singular form of realism haunted by ghosts and memories). Pedro Costa’s elusive presence in the film, is an example of a solitary and artisanal work ethic of which the films are the most eloquent demonstration. (N.S.)
Two young men share different points of view of the same sexual encounter in a public space: a cinema.
In this documentary we walk through the forgotten female version of Portuguese rock music history. From the 1950’s to the present days, director Francisca Marvão collects various testimonies to shed light on the women who rock.
O Fim do Mundo was made as an experiment of inserting a fictional skeleton in a given reality, to be filled with documental flesh – a group of young people in a social neighbourhood of Setúbal, an industrial city in the south of Lisbon. (Pedro Pinho)