A man travels Europe. Shortly thereafter, American troops enter the ground war in Vietnam. Destination Finale is an original 8mm amateur film, shot in 1964, found in Saigon in 2005 and edited by Widmann with a sense of drama.
Secção: Competição Internacional | International Competition
A portrait of Northern Irish Republican political activist Bernadette Devlin. She became a street activist in the late 1960s and was heavily involved in the Battle of the Bogside in 1969.
While Benjamin obsessively dreams of escaping to South America, his mother plans his unwanted birthday party. But sometimes the best parties are the ones you don’t want.
In a rural village in southern Sweden night falls and on the way home, an unexpected noise makes someone uncomfortable. Is it the neighbour’s dog or a wolf? In the middle of the dark it is easy to confuse friendly things with potentially dangerous ones. The sound induces doubt and enigmatic images create an atmosphere that speaks, but does not explain itself. (Ágata Pinho)
A monochordic voice tells the story of two brothers during a Eremwin party, in Nigeria. The animation starts with the model of a house and transforms into a geometric structure with negative image, during their tragic escape. With a hospitable aridity, this dark and minimalist film awakes consciousness. (Miguel Valverde)
When working class teenager Delia wins a luxury car in a promotional campaign, she and her parents travel to Bucharest to shoot a commercial in which she must thank the sponsoring company for the car. As the shoot wears on, the car slowly becomes both the object and catalyst of an absurd clash of desire, values, and will between Delia’s cash-strapped parents and her youthful self.
The world collides in Chungking Mansions (Hong Kong). As perhaps the most diversely populated building on earth it is a paradise of multi-culturalism and low-end globalization, uniquely belonging to no one and everyone.
In Kinshasa, a series of characters intertwines around the misfortunes of an unofficial taxi driver. This animation was made utilizing recycled materials and this is exactly what the film describes: we see the extraordinary resources the inhabitants of Kinshasa have to use to be able simply to survive day after day. (Karim Shimsal)
Ida Nordberg, aged 5, crosses everyday the frozen sea that separates her house, in the small island of Kyrkogerdso, in the middle of the Baltic Sea, from school. Against the overwhelming landscape, both an enchanted kingdom and a prison, she, in her small boots, fights a silent battle. (Ágata Pinho)
In a lake surrounded by buildings, a man builds a boat. The dream of an impossible journey, in freedom’s search of the memories from an eternal past. A reflection on the effect of time and space’s metamorphoses in a man’s life and in his happy death.
“””I would like some honey, the best you have.”” “”We’re out of honey, a green car got it all.”” “”Thank you”” “”You’re welcome”” “”Nice jacket””
The above dialogue no matter how odd it sounds is a driving test, the faster and more accurate you deliver the lines the better chances you have to be selected as the driver to deliver jars of honey. The cinema of false logic is defining the cinema of Greece. After ‚ÄòDogtooth’ and ‚ÄòAlps’, Efthymis Fillipou co-wrote with the the director of L a grotesque comedy about a man that is rejected as a driver just because he forgot to check the quality of honey. If the world that surrounds us is incomprehensible the more in crisis we get and the more trapped we feel. In our case our main protagonist lives literally behind the driving wheel, it’s where he eats, where he meets his children, where he celebrates birthdays. Emptiness, nothingness, lack of emotion and repetion constitute L with obvious references to Samuel Beckett where the main characters as bears are obsessed with honey. (Nina Veligradi)”
Posokoni is the largest tin mine in Bolivia. The thousands of workers it receives daily taint, lantern in hand, the gloomy silence of the tunnels. The camera follows light as it devours obscurity but the opposite also happens. After an accident, darkness is left behind and the exterior awaits them with some kind of a liberation. (Ágata Pinho)
Mauro is under house arrest. Tattooing helps him while away the time. Three local kids taunt him through his window. Outside, the midday sun beats down.
A cross between a road-trip in Portugal and a summer love story. It is the junction of a narrative line more philosophical and poetic with factual and personal elements. Julian is represented here as the “noble savage” of Rousseau: nature is his natural environment. Julian is like Adam, the embodiment of various myths created by mankind. (António da Silva)
He likes her. She likes the boy playing football in the park and watches over his backpack. While waiting, she swings upside down in a merry-go-round. She sees the world bottom up, he tries to convince her of his point of view and the film dwells on the tension between them. Tomorrow, if they meet again, maybe she’ll change her mind. (Ágata Pinho)
It’s a drama where passion, altruism, crime and hidden racism are intrinsically intertwined. The gliding perception of the main character is captured in the jarring but playful compositions and elaborate dialogue that turns the apparent kitchen sink realism into existential psycho-sink.
A poetic understated movie about tragedy and reconciliation in the Mississippi Delta. Lawrence and his brother live together in a small town next to young James and his mother Marlee. She is a single mother struggling to scratch a living for herself and her son. James roams the rural landscape getting into trouble. The brother’s death causes a profound ripple effect in their lives. Marlee confronts Lawrence using this opportunity to take over the property, but hope rises when she helps Lawrence in reopening his convenience store. The three of them learn gradually to get past their issues and deal with life – as a family.
“Green Waters” is the name of the seaside resort where Juan plans to spend the summer holiday with his wife and children. But things go wrong. Sexual temptation is everywhere. Juan is consumed by fears of being pushed aside by his family and not being able to protect his daughter from lurking dangers. His Freudian wife explains to him that his fears are a projection of his desire for sex with another woman and urges him to go to a therapist. Juan ignores her. The camera shares Juan’s grotesque-neurotic perspective and in the classic suspense-movie style of past eras the film score evokes the inner life of a paranoid capable of anything.