23 MAY — 02 JUNE 2024

23 MAY — 02 JUNE 2024

An American Chronicle

Gouzou Alexandre, jean claude taki

France

2023, 66'

A film about a film that never existed. In the 1970s, Michelangelo Antonioni wrote a screenplay, entitled Two Telegrams, with the American Rudy Wurlitzer. In the 1980s, Portuguese producer Paulo Branco agreed with the director to make the film in the United States. For various reasons, the film didn’t happen. In this film, the imagination of the two directors picks up on what this unfinished project could have been.

Director’s Cut

INFO

PREMIERE TYPE

National

ORIGINAL TITLE

Une Chronique Américaine

LANGUAGE

French / English

SCRIPT

Gouzou Alexandre, jean claude taki

PHOTOGRAPHY

jean claude taki

SOUND

Fabrice Naud

EDITING

jean claude taki, Gouzou Alexandre

SHARE

SAME SECTION MOVIES

Director’s Cut

Atlas Of An Amateur Cinema: Mapping the Discarded

It is estimated that around 99% of amateur cinema and home movies are lost. Cartography of the Discarded is the first episode of a series that explores what remains of this private cinema. It is an introduction to an enormous blind field in the history of cinema, with testimonies from José Manuel Costa, Amarante Abramovici, among others.

Luísa Homem, Inês Sapeta Dias

2023, 33'

Director’s Cut

Chantal Akerman’s First Gaze

Four short films that Chantal Akerman made as part of her entrance exam to the Institut Supérieur des Arts. They were filmed in 8mm, show life in the city of Brussels and in Knokke, on the Belgian coast, and include Akerman’s sister and mother, who will be a recurring figure in her work.

Chantal Akerman

1967, 16'

Director’s Cut

Eléctricos

A short film about an unabashed love of trams that leads a law student to leave everything behind to dedicate himself to his dream: becoming a brakeman. A school film by Pedro Sena Nunes, made at ESTC as part of the Lisbon European Capital of Culture activities in 1994.

Pedro Sena Nunes

1994, 18'

Director’s Cut

Germaine Dulac’s Illustrated Records

These “illustrated records” from the 1930s are music videos avant la lettre. An endeavour by the Fondation Jérôme Seydoux-Pathé (with support by CNC) that recovers a forgotten production by the pioneer of French impressionism, starting to pair, only in 2023, the recordings with the original songs.

1930, 23'

Director’s Cut

R21 aka Restoring Solidarity

Mohanad Yaqubi recovers a gesture of solidarity that has been lost for 30 years. The Japanese solidarity movement with Palestine was committed to the cause of audotermination. Yaqubi discovered a set of 21 16mm reels from a collective of militant filmmakers. The recovery of these works resulted in a film that questions the universality of certain political struggles. Several of the reels recovered and presented here were controversially censored at Documenta 15.

Palestine / Belgium / Qatar

2022, 71'

Director’s Cut

School Time

During his internship at ANIM – the Portuguese Moving Images Archive, director Francisco Torres deeply engages with the film collection of his own former film school, ESTC – Lisbon Film School. Alongside Manuel Mozos, the two dove into the past of the school that educated them.

Francisco Torres

2024, 23'

Director’s Cut

The Afterlight

In Damien Chazelle’s Babylon, someone tells an actor that 100 years from now he will come back to life whenever a reel of his work is projected. In this film, countless actors from all over the world, who are now dead, come back to life, creating a cast of angels and ghosts. The film has a single 35mm print, incorporating natural wear and tear in each viewing, until it erodes definitively — this will be the 56th screening of the film and Shackleton’s fifth film at IndieLisboa.

Charlie Shackleton

2021, 82'

Director’s Cut

The Men I Loved

Pity and Dido are married, but that doesn’t prohibit extramarital relationships; on the contrary, they are encouraged. The film questions rigid cultural standards and what a woman is allowed to do. Directed by Tereza Trautman when she was just 22, a film banned by the Brazilian military dictatorship for its inclusion of sexual and feminist content, presented in a new digital print restored by the Cinemateca Brasileira.

Tereza Trautman

1973, 85'