{"id":10332,"date":"2019-04-02T11:58:32","date_gmt":"2019-04-02T10:58:32","guid":{"rendered":"https:\/\/indielisboa.com\/here-are-the-films-of-indielisboa-2019\/"},"modified":"2019-04-02T11:58:32","modified_gmt":"2019-04-02T10:58:32","slug":"here-are-the-films-of-indielisboa-2019","status":"publish","type":"post","link":"https:\/\/indielisboa.com\/en\/2019\/04\/02\/here-are-the-films-of-indielisboa-2019\/","title":{"rendered":"Here are the films of IndieLisboa 2019"},"content":{"rendered":"

There will be more than two hundred and fifty films telling the story of the 16th edition of IndieLisboa, between May 2nd and May 12th. A diverse program that looks into Brazilian cinematography, making it one of the highlights in the Independent Hero section; dedicates a retrospective to the great muse of French cinema, Anna Karina; highlights, among others, the singular work of the Caroline Poggi and Jonathan Vinel duo in the Silvestre section; and compiles the most interesting recent production in the main sections and IndieJunior competitions. A program that aims to promote dialogue between different generations and geographies of cinema, to link the political, social and aesthetic urgencies of the world, and to simply celebrate and discover.<\/p>\n

The screenings and schedule will be announced on April 18th, when online ticket open. On April 23rd, the central ticket office at Culturgest will start selling tickets as well.<\/p>\n

Don’t miss out on the early bird vouchers at reduced prices until April 17th to save money on your tickets. More information available here<\/a><\/strong>.<\/p>\n

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\u2020 World Premiere<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n

INTERNATIONAL COMPETITION<\/h1>\n

Features<\/strong><\/h2>\n

Bait
\n<\/strong><\/em>Mark Jenkin, United Kingdom, fic., 2018, 87\u2019<\/span><\/p>\n

\n
\n

De los nombres de las cabras\/On the Names of the Goats\u2020<\/em><\/strong>
\nSilvia Navarro, Miguel G. Morales, Spain, doc., 2019, 62\u2019<\/p>\n

De nuevo otra vez\/Again Once Again<\/strong><\/em>
\nRomina Paula, Argentina, fic., 2019, 84\u2019<\/p>\n

Jessica Forever
\n<\/strong><\/em>Caroline Poggi, Jonathan Vinel, France, fic., 2018, 97\u2019<\/p>\n

Lost Holiday
\n<\/em><\/strong>Thomas Matthews, Michael Kerry Matthews, USA, fic., 2019, 75\u2019<\/p>\n

Ne travaille pas (1968 \u2013 2018)\/Don\u2019t Work (1968-2018)<\/strong><\/em>
\nC\u00e9sar Vayssi\u00e9, Fran\u00e7a, doc., 2018, 88\u2019<\/p>\n

Present.Perfect.<\/strong><\/em>
\nShengze Zhu, USA\/Hong Kong, doc., 2019, 124\u2019<\/p>\n

S\u0103 nu ucizi\/Thou Shalt Not Kill<\/strong><\/em>
\nGabi Virginia \u0218arga, C\u0103t\u0103lin Rotaru, Romania, fic., 2018, 120\u2019<\/p>\n

So Pretty<\/strong><\/em>
\nJessie Jeffrey Dunn Rovinelli, USA, France, fic., 2019, 83\u2019<\/p>\n

Temporada\/Long Way Home<\/strong><\/em>
\nAndr\u00e9 Novais Oliveira, Brasil, fic., 2018, 113\u2019<\/p>\n

Shorts<\/strong><\/h2>\n
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\n
\n

A Million Years<\/strong><\/em>
\nDanech San, Cambodia, fic., 2018, 21\u2019<\/p>\n

Acid Rain<\/strong><\/em>
\nTomek Popakul, Poland, anim., 2019, 26\u2019<\/p>\n

La bala de Sandoval\/Sandoval\u2019s Bullet<\/strong><\/em>
\nJean-Jacques Martinod, Equador, doc.\/exp., 2018, 18\u2019<\/p>\n

The Curse of the Phantom Tympanum\u2020<\/strong><\/em>
\nGraeme Cole, United Kingdom\/France, fic., 2018, 28\u2019<\/p>\n

De longs discours dans vos cheveux\/Words in Your Hairs<\/strong><\/em>
\nAlexandre Steiger, France, fic., 2018, 13\u2019<\/p>\n

D\u2019un ch\u00e2teau l\u2019autre\/Castle to Castle<\/strong><\/em>
\nEmmanuel Marre, Belgium\/France, doc., 2018, 41\u2019<\/p>\n

D\u00fcrrenwaid 8\/Duerrenwaid 8<\/strong><\/em>
\nInes Christine Gei\u00dfer, Kirsten Carina Gei\u00dfer, Germany, anim.\/doc.\/exp., 2018, 7\u2019<\/p>\n

Fest<\/strong><\/em>
\nNikita Diakur, Germany, anim.\/exp., 2018, 3\u2019<\/p>\n

The Flood Is Coming
\n<\/strong><\/em>Gabriel B\u00f6hmer, United Kingdom, anim.\/exp., 2018, 9\u2019<\/p>\n

Foyers\/Hearths<\/strong><\/em>
\nPaul Heintz, France, doc., 2018, 18\u2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\n
\n

The Girl With Two Heads<\/strong><\/em>
\nBetzab\u00e9 Garcia, United Kingdom, exp., 2018, 13\u2019<\/p>\n

Gli Anni\/The Years<\/strong><\/em>
\nSara Fgaier, Italy\/France, fic., 2018, 21\u2019<\/p>\n

Guaxuma<\/strong><\/em>
\nNara Normande, France\/Brazil, anim., 2018, 14\u2019<\/p>\n

Huile sur vent\/Oil on Wind<\/strong><\/em>
\nAlejandro Perez, Switzerland\/Spain, doc., 2018, 20\u2019<\/p>\n

I Got My Things And Left<\/strong><\/em>
\nPhilbert Aim\u00e9 Mbabazi Sharangabo, Switzerland\/Rwanda, fic., 2018, 22\u2019<\/p>\n

Les id\u00e9es s\u2019am\u00e9liorent\/The Plagiarist<\/strong><\/em>
\nL\u00e9o Richard, France, fic., 2018, 22\u2019<\/p>\n

Je sors acheter des cigarettes\/I\u2019m Going Out for Cigarettes<\/strong><\/em>
\nOsman Cerfon, France, anim., 2018, 14\u2019<\/p>\n

Life After Love<\/strong><\/em>
\nZachary Epcar, USA, exp., 2018, 8\u2019<\/p>\n

Lunar-Orbit Rendezvous<\/strong><\/em>
\nM\u00e9lanie Charbonneau, Canada, fic., 2018, 15\u2019<\/p>\n

Octane<\/strong><\/em>
\nJeron Braxton, USA, anim., 2018, 6\u2019<\/p>\n

Operation Jane Walk<\/em><\/strong>
\nLeonhard M\u00fcllner, Robin Klengel, Austria, exp., 2018, 16\u2019<\/p>\n

Past Perfect<\/strong><\/em>
\nJorge J\u00e1come, Portugal, fic., 2019, 23\u2019<\/p>\n

Les petites vacances\/A Little Break<\/strong><\/em>
\nLouise Groult, France, fic., 2018, 25\u2019<\/p>\n

Princesa Morta do Jacu\u00ed\/Dead Princess of Jacui<\/strong><\/em>
\nMarcela Ilha Bordin, Brazil, fic., 2018, 17\u2019<\/p>\n

The Sasha<\/strong><\/em>
\nMar\u00eda Molina Peir\u00f3, Holland, exp.\/doc., 2019, 20\u2019<\/p>\n

Suc de s\u00edndria\/Watermelon <\/strong><\/em>
\nJuiceIrene Moray, Spain, fic., 2019, 22\u2019<\/p>\n

Swatted<\/strong><\/em>
\nIsma\u00ebl Joffroy Chandoutis, France, doc., 2018, 21\u2019<\/p>\n

Take me Please<\/strong><\/em>
\nOliv\u00e9r Hegyi, Hungary, anim., 2018, 14\u2019<\/p>\n

Tombent les heures<\/strong><\/em>
\nBlanca Camell Gal\u00ed, France, fic., 2018, 26\u2019<\/p>\n

Tonnerre sur mer\/Thunder from the Sea<\/strong><\/em>
\nYotam Ben-David, France, fic., 2018, 45\u2019<\/p>\n

Turbine<\/strong><\/em>
\nAlex Boya, Canada, anim., 2018, 9\u2019<\/p>\n

Walled Unwalled<\/strong><\/em>
\nLawrence Abu Hamdan, Germany, doc.\/exp., 2018, 21\u2019<\/p>\n

NATIONAL COMPETITION<\/h1>\n

Features<\/strong><\/h2>\n
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Alva<\/strong><\/em>
\nIco Costa, Portugal\/France\/Argentina, fic., 2019, 98\u2019<\/p>\n

Campo<\/strong><\/em>
\nTiago Hespanha, Portugal, doc., 2019, 100\u2019<\/p>\n

Mar\/Sea<\/strong><\/em>
\nMargarida Gil, Portugal, fic., 2018, 103\u2019<\/p>\n

A Minha Av\u00f3 Trelot\u00f3t\u00f3\u2020<\/strong><\/em>
\nCatarina Ruivo, Portugal, fic.\/doc., 2018, 178\u2019<\/p>\n

Sacav\u00e9m\u2020
\n<\/span><\/strong><\/em>J\u00falio Alves, Portugal, doc., 2019, 65\u2019<\/p>\n

Tragam-me a Cabe\u00e7a de Carmen M.\/Bring Me The Head of Carmen M.<\/strong><\/em>
\nFelipe Bragan\u00e7a, Catarina Wallenstein, Brazil\/Portugal, fic., 2019, 60\u2019<\/p>\n

Tristeza e Alegria na Vida das Girafas\/Sadness and Joy in the Life of Giraffes<\/strong><\/em>
\nTiago Guedes, Portugal, fic., 2019, 109\u2019<\/p>\n

Shorts<\/strong><\/h2>\n
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\n
\n

A Casa, a Verdadeira e a Seguinte, Ainda Est\u00e1 por Fazer\/The House Is Yet To Be Built<\/strong><\/em>
\nS\u00edlvia das Fadas, USA\/Austria\/Portugal, doc.\/exp., 2018, 35\u2019<\/p>\n

Arriaga\u2020<\/strong><\/em>
\nWelket Bungu\u00e9, Portugal, fic., 2019, 24\u2019<\/p>\n

Bela Mandil<\/strong><\/em>
\nHelena Estrela, Portugal, fic., 2018, 16\u2019<\/p>\n

Em Caso de Fogo\u2020<\/strong><\/em>
\nTom\u00e1s Paula Marques, Portugal, fic., 2019, 23\u2019<\/p>\n

Espectros da Terra\u2020<\/strong><\/em>
\nClara Pais, Daniel Fawcett, Portugal\/United Kingdom, exp.\/fic., 2018, 4\u2019<\/p>\n

Estudos de Muybridge e Etc…\/Studies of Muybridge and Etc…\u2020<\/strong><\/em>
\nJ\u00falio F. R. Costa, Portugal, anim.\/exp. 2018, 5\u2019<\/p>\n

Filomena<\/strong><\/em>
\nPedro Cabeleira, Portugal, fic., 2019, 15\u2019<\/p>\n

Fordl\u00e2ndia Malaise<\/strong><\/em>
\nSusana de Sousa Dias, Portugal, doc., 2019, 35\u2019<\/p>\n

Grbavica<\/strong><\/em>
\nManel Raga Raga, Portugal\/Spain\/Bosnia and Herzegovina, fic.\/doc., 2018, 20\u2019<\/p>\n

Heatstroke (Insola\u00e7\u00e3o)\/Heatstroke\u2020<\/strong><\/em>
\nEdgar Morais, Portugal\/USA, fic.\/exp., 2019, 8\u2019<\/p>\n

The Hood\u2020<\/strong><\/em>
\nPatricia Vidal Delgado, Portugal\/USA, fic., 2018, 10\u2019<\/p>\n

Os In\u00fateis\/The Useless\u2020<\/strong><\/em>
\nRui Esperan\u00e7a, Portugal, fic., 2019, 21\u2019<\/p>\n

Invis\u00edvel Her\u00f3i\/Invisible Hero\u2020<\/strong><\/em>
\nCrist\u00e8le Alves Meira, Portugal\/France, fic., 2019, 27\u2019<\/p>\n

O Mar Enrola na Areia<\/strong><\/em>
\nCatarina Mour\u00e3o, Portugal, exp., 2019, 16\u2019<\/p>\n

Mem\u00f3ria e Dicion\u00e1rio\/Memory and Dictionary\u2020<\/strong><\/em>
\nPaulo Lima, Portugal, doc., 2019, 50\u2019<\/p>\n

Past Perfect<\/strong><\/em>
\nJorge J\u00e1come, Portugal, fic., 2019, 23\u2019<\/p>\n

Poder Fantasma\u2020<\/strong><\/em>
\nAfonso Mota, Portugal, fic., 2019, 23\u2019<\/p>\n

BRAND NEW<\/h1>\n

Features<\/strong><\/h2>\n
\n
\n
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A Casa e os C\u00e3es\/The House and the Dogs\u2020<\/strong><\/em>
\nMadalena Fragoso, Margarida Meneses, Portugal, doc., 2019, 62\u2019<\/p>\n

Shorts<\/strong><\/h2>\n
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Ber\u00e7o\/Berth\u2020<\/strong><\/em>
\nIn\u00eas Lu\u00eds, Portugal, fic., 2019, 22\u2019<\/p>\n

Corpo\/Body<\/strong><\/em>
\nCatarina Mendes, Portugal, fic., 2019, 13\u2019<\/p>\n

O Bra\u00e7o do Andr\u00e9\/Andr\u00e9\u2019s Arm<\/strong><\/em>
\nTom\u00e9 Pereira, Portugal, doc., 2018, 7\u2019<\/p>\n

Corporealitis<\/strong><\/em>
\nBeatriz Bagulho, Portugal\/United Kingdom, anim., 2018, 4\u2019<\/p>\n

O Despiste\/The Skid\u2020<\/strong><\/em>
\nFrancisco Noronha, Portugal, doc.\/fic., 2019, 28\u2019<\/p>\n

Equinox<\/strong><\/em>
\nBruno Carnide, Portugal, fic., 2019, 3\u2019<\/p>\n

Estas M\u00e3os S\u00e3o Minhas\u2020<\/strong><\/em>
\nAndr\u00e9 Miguel Ferreira, Portugal, doc., 2019, 8\u2019<\/p>\n

H\u00e1 Dias Assim\/Days Like This<\/strong><\/em>
\nIn\u00eas Delicioso, United Kingdom\/Portugal, anim., 2018, 4\u2019<\/p>\n

Hist\u00f3ria da Noite\/Night Tale<\/strong><\/em>
\nIn\u00eas Nunes, Portugal, fic.\/exp., 2018, 16\u2019<\/p>\n

Incomum<\/strong><\/em>
\nJo\u00e3o Marques, Portugal, fic., 2018, 19\u2019<\/p>\n

Jantar\u2020<\/strong><\/em>
\nTatiana Ramos, Portugal, fic., 2019, 19\u2019<\/p>\n

Ocupa\u2020<\/strong><\/em>
\nMarta Salazar, Portugal, exp., 2018, 5\u2019<\/p>\n

Tu. Tu. Tu.\u2020<\/strong><\/em>
\nMarcelo Tavares, Portugal, exp., 2019, 12\u2019<\/p>\n

SILVESTRE<\/h1>\n

Features<\/strong><\/h2>\n
\n
\n
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3 Faces<\/strong><\/em>
\nJafar Panahi, Iran, fic., 2018, 100\u2019<\/p>\n

Alice T.<\/strong><\/em>
\nRadu Muntean, Romania\/France\/Sweden, fic., 2018, 105\u2019<\/p>\n

Amanda<\/strong><\/em>
\nMikha\u00ebl Hers, France, fic., 2018, 107\u2019<\/p>\n

Burning<\/strong><\/em>
\nLee Chang Dong, South Korea, fic., 2018, 148\u2019<\/p>\n

Entre dos aguas\/Between Two Waters<\/strong><\/em>
\nIsaki Lacuesta, Spain\/Switzerland\/Romania, fic., 2018, 135\u2019<\/p>\n

The Grand Bizarre<\/strong><\/em>
\nJodie Mack, USA, exp., 2018, 60\u2019<\/p>\n

Ich war zuhause, aber\/I Was at Home, But<\/strong><\/em>
\nAngela Schanelec, Germany\/Serbia, fic., 2019, 105\u2019<\/p>\n

L\u2019\u00eele au tr\u00e9sor\/Treasure Island<\/strong><\/em>
\nGuillaume Brac, France, doc., 2018, 97\u2019<\/p>\n

\u201c\u00cemi este indiferent daca \u00een istorie vom intra ca barbari\u201d\/\u201dI Do Not Care If We\u00a0Go Down in History as Barbarians\u201d<\/strong><\/em>
\nRadu Jude, Romania\/Czech Republic\/France\/ Bulgaria\/Germany, fic., 2018, 140\u2019<\/p>\n

Os Jovens Baumann\/The Young Baumanns<\/strong><\/em>
\nBruna Carvalho Almeida, Brazil, fic.\/doc., 2018, 71\u2019<\/p>\n

M.<\/strong><\/em>
\nYolande Zauberman, France, doc., 2018, 106\u2019<\/p>\n

Peterloo<\/strong><\/em>
\nMike Leigh, United Kingdom, fic., 2018, 154\u2019<\/p>\n

Quer\u00eancia\/Homing<\/strong><\/em>
\nHelv\u00e9cio Marins Jr., Brazil\/Germany, fic.\/doc., 2019, 90\u2019<\/p>\n

A Rosa Azul de Novalis\/The\u00a0Blue Flower of Novalis<\/strong><\/em>
\nGustavo Vinagre, Rodrigo Carneiro, Brazil, doc., 2019, 70\u2019<\/p>\n

Seus Ossos e Seus Olhos\/Your Bones and Your Eyes<\/strong><\/em>
\nCaetano Gotardo, Brazil, fic., 2019, 118\u2019<\/p>\n

Sophia Antipolis<\/strong><\/em>
\nVirgil Vernier, France, fic., 2018, 98\u2019<\/p>\n

Tarde para morir joven\/Too Late to Die Young<\/strong><\/em>
\nDominga Sotomayor, Chile\/Brazil\/Argentina\/Holland\/Qatar, fic., 2018, 110\u2019<\/p>\n

Shorts<\/strong><\/h2>\n
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A Fly in the Restaurant<\/strong><\/em>
\nXi Chen, Xu An, China, anim., 2018, 6\u2019<\/p>\n

Blue<\/strong><\/em>
\nApichatpong Weerasethakul, France\/Thailand, fic., 2018, 13\u2019<\/p>\n

Bookanima: Dance<\/strong><\/em>
\nShon Kim, South Korea\/USA\/Portugal, exp.\/doc.\/anim., 2018, 8\u2019<\/p>\n

Cairo Affaire<\/strong><\/em>
\nMauro Andrizzi, Argentina, fic., 2019, 25\u2019<\/p>\n

David Bowie Is Dead<\/strong><\/em>
\nMark Jenkin, United Kingdom, exp., 2018, 17\u2019<\/p>\n

Extra-Terrestrial-Ecologies (Retroflectors: the astronaut, the robot, the alien)<\/strong><\/em>
\nRalo Mayer, Austria, doc.\/exp., 2018, 43\u2019<\/p>\n

Freedom of Movement<\/strong><\/em>
\nMaroan el Sani, Nina Fischer, Italy\/Germany, doc.\/exp., 2018, 30\u2019<\/p>\n

Hard On<\/strong><\/em>
\nJoanna Rytel, Sweden, fic.\/doc., 2019, 19\u2019<\/p>\n

I Signed the Petition<\/strong><\/em>
\nMahdi Fleifel, Germany\/United Kingdom\/Switzerland, exp., 2018, 11\u2019<\/p>\n

Lasting Marks<\/strong><\/em>
\nCharlie Lyne, United Kingdom, doc., 2018, 14\u2019<\/p>\n

Menuet<\/strong><\/em>
\nPatricia G\u00e9lise, Nicolas Deschuyteneer, Belgium, fic., 2018, 15\u2019<\/p>\n

Our Africa<\/strong><\/em>
\nAlexander Markov, Russia, doc., 2018, 45\u2019<\/p>\n

Sete Anos em Maio\/Seven Years in May<\/strong><\/em>
\nAffonso Uch\u00f4a, Brazil\/Argentina, fic.\/doc., 2019, 42\u2019<\/p>\n

This is a Projection<\/strong><\/em>
\nJohn Wood, Paul Harrison, United Kingdom, exp., 2018, 5\u2019<\/p>\n

Vox Lipoma<\/strong><\/em>
\nJane Magnusson, Liv Str\u00f6mqvist, Sweden, anim., 2018, 11\u2019<\/p>\n

Wong Ping\u2019s Fables 1<\/strong><\/em>
\nWong Ping, Hong Kong, anim., 2018, 13\u2019<\/p>\n

Yellow Line<\/strong><\/em>
\nSimon Rouby, France, doc., 2018, 14\u2019<\/p>\n

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Special Programmers Screening<\/strong><\/h2>\n<\/div>\n<\/div>\n
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Bigger Than Life<\/strong><\/em>
\nAdnan Softic, Gerany\/Macedonia\/Italy, doc., 2018, 30\u2019<\/p>\n

Mum\u2019s Cards<\/strong><\/em>
\nLuke Fowler, United Kingdom, doc., 2018, 9\u2019<\/p>\n

Remy<\/strong><\/em>
\nGuillaume Lillo, France, fic.\/exp., 2018, 31\u2019<\/p>\n

Wyprawa do magicznego wodospadu\/Journey To The Magic Waterfall<\/strong><\/em>
\nBogna Kowalczyk, Poland, anim., 2018, 13\u2019<\/p>\n

SILVESTRE FOCUS
\nJONATHAN VINEL AND CAROLINE POGGI<\/h1>\n

Program<\/h2>\n
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A.B.<\/strong><\/em>
\nJonathan Vinel, France, 2012, 4′<\/p>\n

After School Knife Fight<\/strong><\/em>
\nCaroline Poggi, Jonathan Vinel, France, fic., 2017, 21′<\/p>\n

Chiens\/Dogs<\/strong><\/em>
\nCaroline Poggi, France, exp.\/fic., 2012, 24′<\/p>\n

Jessica Forever<\/strong><\/em>
\nCaroline Poggi, Jonathan Vinel, France, fic., 2018, 97\u2019<\/p>\n

Martin pleure\/Martin Cries<\/strong><\/em>
\nJonathan Vinel, France, fic.\/anim., 2017, 16′<\/p>\n

Notre amour est assez puissant<\/strong><\/em>
\nJonathan Vinel, France, anim., 2014, 9′<\/p>\n

Notre heritage\/Our Legacy<\/strong><\/em>
\nCaroline Poggi, Jonathan Vinel, France, fic., 2015, 24′<\/p>\n

Play<\/strong><\/em>
\nJonathan Vinel, France, fic., 2011, 10′<\/p>\n

Prince, puissance, souvenirs<\/strong><\/em>
\nJonathan Vinel, France, fic., 2012, 10′<\/p>\n

Tant qu’il nous reste des fusils \u00e0 pompe\/As Long as Shotguns Remain<\/strong><\/em>
\nCaroline Poggi, Jonathan Vinel, France, fic., 2014, 30′<\/p>\n

We<\/strong><\/em>
\nJonathan Vinel, Benjamin Hameury, France, fic., 2010, 7′<\/p>\n

Performance<\/h2>\n
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Zone W\/O People<\/strong><\/em>
\nOklou & Krampf Live AV Project<\/p>\n

INDIEJUNIOR<\/h1>\n

Shorts<\/h2>\n
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2nd Class<\/strong><\/em>
\nJimmy Olsson, Sweden, fic., 2018, 14′<\/p>\n

Amimaginaire<\/strong><\/em>
\nRobin Barriere, France, anim.\/fic., 2018, 6′<\/p>\n

Bamboule\/Butterboo<\/strong><\/em>
\nEmilie Pigeard, France\/Belgium, anim., 2018, 9′<\/p>\n

Billie<\/strong><\/em>
\nMaki Yoshikura, United Kingdom, anim., 2018, 4′<\/p>\n

Cat Lake City<\/strong><\/em>
\nAntje Heyn, Germany, anim., 2019, 7′<\/p>\n

Drachenhoehle\/Dragon’s Nest<\/strong><\/em>
\nLynn Gerlach, Switzerland, anim., 2018, 7′<\/p>\n

Flerdermaus\/Bat<\/strong><\/em>
\nJulia Ocker, Germany, anim., 2018, 4′<\/p>\n

Gr\u00f6na Grodan\/The Tale of the Tiny Frog<\/strong><\/em>
\nFelicia Bergstr\u00f6m, Germany, anim., 2018, 4′<\/p>\n

H\u00e1 Dias Assim\/Days Like This<\/strong><\/em>
\nIn\u00eas Delicioso, United Kingdom\/Portugal, anim., 2018, 4\u2019<\/p>\n

Hors piste<\/strong><\/em>
\nL\u00e9o Brunel, Loris Cavalier, Camille Jalabert, Oscar Mallet, France, anim., 2018, 6′<\/p>\n

Il s’est pass\u00e9 quelque chose<\/strong><\/em>
\nAnne Larricq, France, anim., 2018, 8′<\/p>\n

Inglitrompet\/Angel’s Trumpet<\/strong><\/em>
\nMartinus Klemet, Estonia, anim., 2019, 2′<\/p>\n

La Jupe d’Adam\/Adam’s Skirt<\/strong><\/em>
\nCl\u00e9ment Trehin Lalanne, France, fic., 2018, 11′<\/p>\n

Le Refuge de l\u2019\u00e9cureuil\/Home Sweet Home<\/strong><\/em>
\nChaitane Conversat, France\/Switzerland, anim., 2018, 13′<\/p>\n

Die Lupe<\/strong><\/em>
\nNazgol Emami, Germany, anim.\/fic., 2017, 10′<\/p>\n

Mahalia Melts in the Rain<\/strong><\/em>
\nEmilie Mannering, Carmine Pierre-Dufour, Canada, fic., 2018, 11′<\/p>\n

Miam Miam\/Yum Yum<\/strong><\/em>
\nMathilde Pepinster, Belgium, anim., 2018, 2′<\/p>\n

Miles Away<\/strong><\/em>
\nBarbara Brunner, Sweden, anim., 2018, 4′<\/p>\n

Nest<\/strong><\/em>
\nSonja Rohleder, Germany, anim., 2019, 4′<\/p>\n

Nuit ch\u00e9rie\/Sweat Night<\/strong><\/em>
\nLia Bertels, Belgium, anim., 2019, 14′<\/p>\n

L\u2019oiseau fute\/The Clever Bird<\/strong><\/em>
\nGa\u00ebtan Borde, France, anim., 2018, 3′<\/p>\n

Pappa\/Dad<\/strong><\/em>
\nAtle Blakseth, Einar Duns\u00e6d, Norway, anim., 2019, 8′<\/p>\n

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\n
\n

Pearfall<\/strong><\/em>
\nLeonid Shmelkov, Estonia, anim., 2017, 3′<\/p>\n

La plongeuse\/The DiverIulia <\/strong>
\nVoitova, France, anim., 2018, 4′<\/p>\n

Pou\u0161t\u011bt draka\/The Kite<\/strong><\/em>
\nMartin Smatana, Czech Republic\/ Slovakia\/Poland, anim., 2019, 13′<\/p>\n

Pu\u017ei\u0107 slikar\/Snail the Painter<\/strong><\/em>
\nManuela Vladi\u0107-Ma\u0161truko, Croatia, anim., 2018, 8′<\/p>\n

R\u00e9cit de soi\/Oneself Story<\/strong><\/em>
\nG\u00e9raldine Charpentier, Belgium, anim.\/doc., 2018, 5′<\/p>\n

Skoldiscot\/Slowdance<\/strong><\/em>
\nChristian Zetterberg, Sweden, fic., 2018, 6′<\/p>\n

The Swimming Lesson<\/strong><\/em>
\nTatyana Okruzhnova, Russia, anim., 2017, 3′<\/p>\n

Sykkelfugl\/Bike Bird<\/strong><\/em>
\nKari Klyve-Skaug, Odveig Klyve, Norway, fic., 2018, 15′<\/p>\n

Ted<\/strong><\/em>
\nTada Kongjonrak, USA, anim., 2017, 3′<\/p>\n

Things You Can Do With Extendable Arms<\/strong><\/em>
\nLuca Paulli, United Kingdom\/Italy, anim., 2018, 2′<\/p>\n

Turbopera<\/strong><\/em>
\nAntoine Marchand, Benoit de Geyer d\u2019Orth, Fabien Meyran, Paul-Eug\u00e9ne Dannaud, France, anim., 2018, 2\u2019<\/p>\n

Die Vogelhochzeit\/The Bird Wedding<\/strong><\/em>
\nJana Geisler, Germany, anim., 2017, 7\u2019<\/p>\n

O \u00daltimo Dia de Outono\/Le dernier jour d’automne<\/em><\/strong>
\nMarjolaine Perreten, Switzerland, Belgium, France, anim., 2019, 7<\/p>\n

Principe Ki-Ki-Do: A Toupeira Mineira\/Prince Ki-Ki-Do: Mole, the Miner<\/strong><\/em>
\nGrega Mastnak, Slovania, anim., 2018, 5\u2018<\/p>\n

Principe Ki-Ki-Do: Superdo\/Prince Ki-Ki-Do: Superdo<\/strong><\/em>
\nGrega Mastnak, Slovania, anim., 2018, 5\u2018<\/p>\n

Um Dia Nublado\/Cloudy<\/strong><\/em>
\nZuzana Cupova, Filip Diviak, Czech Republic, anim.,\u00a02018, 5\u2019<\/p>\n

Poland is so much fun<\/h2>\n
\n
\n
\n

Maluch\/O Carro Beb\u00e9<\/strong><\/em>
\nLucjan Dembi\u0144sk, Poland, anim., 1965, 8\u2019<\/p>\n

Niespodzianka\/A Surpresa<\/strong><\/em>
\nTeresa Badzian, Poland, anim., 1965, 11\u2019<\/p>\n

Sombrero<\/strong><\/em>
\nJadwiga K\u0119dzierzawska, Poland, anim., 1967, 10\u2019<\/p>\n

Piesek w kratk\u0119\/O C\u00e3o aos Quadrados<\/strong><\/em>
\nZofia O\u0142dak, Poland, anim., 1968, 8\u2019<\/p>\n

Gapiszon w cyrku\/O Gaspar vai ao Circo<\/strong><\/em>
\nJerzy Kotowski, Poland, anim., 1968, 9\u2019<\/p>\n

Kundelek\/O Pequeno Rafeiro<\/strong><\/em>
\nLidia Hornicka, Poland, anim., 1969, 6\u2019<\/p>\n

INDEPENDENT HERO
\nANNA KARINA<\/h1>\n

Features<\/h2>\n
\n
\n
\n

Alphaville<\/strong><\/em>
\nJean-Luc Godard, France\/Italy, fic., 1965, 99′<\/p>\n

Anna<\/strong><\/em>
\nPierre Koralnik, France, fic., 1967, 87′<\/p>\n

Bande \u00e0 part\/Band of Outsiders<\/strong><\/em>
\nJean-Luc Godard, France, fic., 1964, 95′<\/p>\n

Chinesisches Roulette\/Chinese Roulette<\/strong><\/em>
\nRainer Werner Fassbinder, Germany\/France, fic., 1976, 86′<\/p>\n

Haut, bas, fragile\/Up, Down, Fragile<\/strong><\/em>
\nJacques Rivette, France\/Switzerland, fic., 1995, 169\u2019<\/p>\n

Justine<\/strong><\/em>
\nGeorge Cukor, USA, fic., 1969, 116\u2019<\/p>\n

Made in USA<\/strong><\/em>
\nJean-Luc Godard, France, fic., 1966, 90\u2019<\/p>\n

Michael Kohlhaas, der rebell\/Man on Horseback<\/strong><\/em>
\nVolker Schl\u00f6ndorff , Germany, fic., 1969, 99\u2019<\/p>\n

Le petit soldat\/The Little Soldier<\/strong><\/em>
\nJean-Luc Godard, France, fic., 1963, 88\u2019<\/p>\n

Pierrot le fou<\/strong><\/em>
\nJean-Luc Godard, France\/Italy, fic., 1965, 110\u2019<\/p>\n

La religieuse\/The Nun<\/strong><\/em>
\nJacques Rivette, France, fic., 1966, 140\u2019<\/p>\n

Le soldatesse\/The Camp Followers<\/strong><\/em>
\nValerio Zurlini, Italy\/France\/Germany\/, fic., 1965, 120\u2019<\/p>\n

Lo straniero\/The Stranger<\/strong><\/em>
\nLuchino Visconti, Italy\/France\/Argelia, fic., 1967, 104\u2019<\/p>\n

Treasure Island<\/strong><\/em>
\nRaoul Ruiz, Reino Unido\/Fran\u00e7a\/EUA, fic., 1985, 115\u2019<\/p>\n

Une femme est une femme\/A Woman is a Woman<\/strong><\/em>
\nJean-Luc Godard, France\/Italy, fic., 1961, 85\u2019<\/p>\n

Vivre ensemble\/Living Together<\/strong><\/em>
\nAnna Karina, France, fic., 1973, 92\u2019<\/p>\n

Vivre sa vie\/My Life to Live<\/strong><\/em>
\nJean-Luc Godard, France, fic., 1962, 83\u2019<\/p>\n

Shorts<\/h2>\n
\n
\n
\n

Anna Karina souviens-toi<\/strong><\/em>
\nDennis Berry, France, doc., 2017, 54′<\/p>\n

Anticipation ou l’amour en an 2000<\/strong><\/em>
\nJean-Luc Godard, France, fic., 1967, 20′<\/p>\n

Les fianc\u00e9s du pont Mac Donald ou (m\u00e9fiez-vous des lunettes noires)\/Beware of Dark Sunglasses<\/strong><\/em>
\nAgn\u00e8s Varda, France, fic., 1961, 5′<\/p>\n

Pigen og skoene\/La jeune filles aux souliers<\/strong><\/em>
\nIb Schmedes, Denmark, fic., 1959, 11\u2019<\/p>\n

Pr\u00e9sentation ou Charlotte et son steak<\/strong><\/em>
\n\u00c9ric Rohmer, France, fic., 1960, 12\u2019<\/p>\n

INDEPENDENT HERO
\nBRAZIL IN A TRANCE<\/h1>\n

Features<\/h2>\n
\n
\n
\n

Divino Amor\/Divine Love<\/strong><\/em>
\nGabriel Mascaro, Brazil\/Norway\/Switzerland\/ Uruguay\/France\/Chile, fic., 2019, 140′<\/p>\n

Domingo<\/strong><\/em>
\nClara Linhart, Fellipe Barbosa, Brazil\/France, fic., 2018, 95′<\/p>\n

Fabiana<\/strong><\/em>
\nBrunna Laboissi\u00e8re, Brazil, doc., 2018, 89′<\/p>\n

Democracia em vertigem\/The Edge of Democracy<\/i><\/strong><\/em>
\nPetra Costa, Brazil, doc., 2019, 122′<\/p>\n

Os Jovens Baumann\/The Young Baumanns*<\/strong><\/em>
\nBruna Carvalho Almeida, Brazil, fic.\/doc., 2018, 71′<\/p>\n

No Cora\u00e7\u00e3o do Mundo\/In the Heart of the World<\/strong><\/em>
\nMaurilio Martins, Gabriel Martins, Brazil, fic., 2019, 121′<\/p>\n

A Noite Amarela\/The Yellow Night**<\/strong><\/em>
\nRamon Porto Mota, Brazil, fic., 2019, 98′<\/p>\n

Quer\u00eancia\/Homing*<\/strong><\/em>
\nHelv\u00e9cio Marins Jr., Brazil\/Germany, fic.\/doc., 2019, 90′<\/p>\n

A Rosa Azul de Novalis\/The Blue Flower of Novalis*<\/strong><\/em>
\nGustavo Vinagre, Rodrigo Carneiro, Brazil, doc., 2019, 70′<\/p>\n

Seus Ossos e Seus Olhos\/Your Bones and Your Eyes*<\/strong><\/em>
\nCaetano Gotardo, Brazil, fic., 2019, 118′<\/p>\n

Temporada\/Long Way Home***<\/strong><\/em>
\nAndr\u00e9 Novais Oliveira, Brazil, fic., 2018, 113′<\/p>\n

Tragam-me a Cabe\u00e7a de Carmen M.\/Bring Me The Head of Carmen M.****<\/strong><\/em>
\nFelipe Bragan\u00e7a, Catarina Wallenstein, Brazil\/ Portugal, exp.\/fic., 2019, 60′<\/p>\n

Shorts<\/h2>\n
\n
\n
\n

Guaxuma***<\/strong><\/em>
\nNara Normande, France\/Brazil, anim., 2018, 14\u2019<\/p>\n

Magalh\u00e3es<\/strong><\/em>
\nLucas Lazarini, Brazil, doc., 2018, 23′<\/p>\n

Mais Triste que Chuva num Recreio de Col\u00e9gio\/Sadder than Playtime on a Rainy Day<\/strong><\/em>
\nLobo Mauro, Brazil, doc.\/exp., 2018, 14′<\/p>\n

Plano Controle<\/strong><\/em>
\nJuliana Antunes, Brazil, fic., 2018, 16′<\/p>\n

Primeiro Ato\/First Act<\/strong><\/em>
\nMatheus Parizi, Brazil, fic., 2018, 20′<\/p>\n

Princesa Morta do Jacu\u00ed\/Dead Princess of Jacui***<\/strong><\/em>
\nMarcela Ilha Bordin, Brazil, fic., 2018, 17′<\/p>\n

Reforma\/Renovation<\/strong><\/em>
\nF\u00e1bio Leal, Brazil, fic., 2018, 15′<\/p>\n

Sete Anos em Maio\/Seven Years in May*<\/strong><\/em>
\nAffonso Uch\u00f4a, Brazil\/Argentina, fic.\/doc., 2019, 42′<\/p>\n

Tea for Two\/Tea for Two<\/strong><\/em>
\nJulia Katharine, Brazil, fic., 2018, 25′<\/p>\n

Os \u00daltimos Rom\u00e2nticos\u2020<\/strong><\/em>
\nJo\u00e3o C\u00e2ndido Zacharias, Brazil, fic., 2019, 12′<\/p>\n

Vig\u00edlia\/Vigil<\/strong><\/em>
\nRafael Urban, Brazil, doc., 2019, 27′<\/p>\n

* Also part of the Silvestre section
\n** Also part of the Mouth of Madness section
\n*** Also part of the International Competition section
\n**** Also part of the National Competion<\/p>\n

INDIEMUSIC<\/h1>\n

Features<\/h2>\n

Ama Romanta – Uma Utopia que Fazia Discos
\n<\/i><\/strong>Vasco Ba\u00e7\u00e3o, Portugal, doc., 2019, 120′<\/p>\n

A Bright Light \u2013 Karen and the Process<\/strong><\/em>
\nEmmanuelle Antille, Switzerland, doc., 2018, 93\u2019<\/p>\n

\n
\n
\n

Um Punk Chamado Ribas\/A Punk Called Ribas\u2020<\/strong><\/em>
\nPaulo Miguel Antunes, Portugal, doc., 2019, 107\u2019<\/p>\n

August at Akiko\u2019s<\/strong><\/em>
\nChristopher Makoto Yogi, USA, fic., 2018, 75\u2019<\/p>\n

Batida de Lisboa\/Lisbon Beat\u2020<\/strong><\/em>
\nRita Maia, Vasco Viana, Portugal, doc., 2019, 78\u2019<\/p>\n

Ela \u00c9 Uma M\u00fasica\u2020<\/strong><\/em>
\nFrancisca Marv\u00e3o, Portugal, doc., 2019, 90\u2019<\/p>\n

Fire Music<\/strong><\/em>
\nTom Surgal, USA, doc., 2018, 68\u2019<\/p>\n

John and Yoko: Above Us Only Sky<\/strong><\/em>
\nMichael Epstein, United Kingdom, doc., 2018, 90\u2019<\/p>\n

Leto<\/strong><\/em>
\nKirill Serebrennikov, Russia\/France, fic., 2018, 126\u2019<\/p>\n

Miles Davis: Birth Of The Cool<\/strong><\/em>
\nStanley Nelson, United Kingdom, doc., 2019, 115\u2019<\/p>\n

Parallel Planes<\/strong><\/em>
\nNicole Wegner, Germany, doc., 2017, 100\u2019<\/p>\n

Teddy Pendergrass: If You Don\u2019t Know Me<\/strong><\/em>
\nOlivia Lichtenstein, United Kingdom, doc., 2019, 106\u2019<\/p>\n

We Intend to Cause Havoc\u2020<\/strong><\/em>
\nGio Arlotta, Czech Republic, doc., 2019, 90\u2019<\/p>\n

Where Does A Body End?\u2020<\/strong><\/em>
\nMarco Porsia, Canada, doc., 2019, 125\u2019<\/p>\n

Special Screening: Kino-Pop Archive<\/h2>\n
\n
\n
\n

1 \u2013 Pedro Ayres de Magalh\u00e3es<\/strong><\/em>
\nEdgar P\u00eara, Portugal, doc., 2019, 30\u2019<\/p>\n

4 – Manuel Jo\u00e3o Vieira & Os Irm\u00e3os Catita
\n<\/b><\/em>Edgar P\u00eara, Portugal, doc., 2019, 30\u2019<\/p>\n

13 \u2013 Farinha Master<\/strong><\/em>
\nEdgar P\u00eara, Portugal, doc., 2019, 30\u2019<\/p>\n

Special Screening: Rollana Beat Videos<\/strong><\/h2>\n
\n
\n
\n

Apparently Singing the Wrong Words<\/strong><\/em>
\nLuis L\u00e1zaro, Portugal, music video, 2019, 6\u2019<\/p>\n

Big Sneeze<\/strong><\/em>
\nRenata Sancho, Portugal, music video, 2019, 3\u2019<\/p>\n

Dopping<\/strong><\/em>
\nLeonor Noivo, Portugal, music video, 2019, 4\u2019<\/p>\n

Ella<\/strong><\/em>
\nVasco Reis Ruivo, Portugal, music video, 2019, 2\u2019<\/p>\n

Expire Date<\/strong><\/em>
\nOstraliana, Portugal, music video, 2019, 3\u2019<\/p>\n

Garbage Grows For Our Distractions<\/strong><\/em>
\nDedo Mau, Portugal, music video, 2019, 4\u2019<\/p>\n

Garland<\/strong><\/em>
\nBruno Borges, Portugal, music video, 2019, 4\u2019<\/p>\n

He Ain\u2019t Got Rhythm!<\/strong><\/em>
\nGon\u00e7alo Duarte, Portugal, music video, 2019, 5\u2019<\/p>\n

Jack Plays Trombone at the Underground Station<\/strong><\/em>
\nIn\u00eas Oliveira, Portugal, music video, 2019, 3\u2019<\/p>\n

Just What the Doctor Ordered<\/strong><\/em>
\nEdgar P\u00eara, Portugal, music video, 2019, 6\u2019<\/p>\n

Murdering Raymond Scott<\/strong><\/em>
\nAya Koretzky, Portugal, music video, 2019, 4\u2019<\/p>\n

Revolutionary Dogs<\/strong><\/em>
\nXavier Almeida, Portugal, music video,, 4\u2019<\/p>\n

Western Spaghetti<\/strong><\/em>
\nIsabel Aboim Inglez, Portugal, music video, 2019, 4\u2019<\/p>\n

DIRECTOR’S CUT<\/h1>\n

Features<\/h2>\n
\n
\n
\n

Be Natural: The Untold Story Of Alice Guy-Blach\u00e9<\/strong><\/em>
\nPamela B. Green, USA, doc., 2018, 103\u2019<\/p>\n

En fum\u00e9e\/A Smoky Season<\/strong><\/em>
\nQuentin Papapietro, France, fic., 2018, 75\u2019<\/p>\n

Film catastrophe<\/strong><\/em>
\nPaul Grivas, France, doc., 2018, 54\u2019<\/p>\n

Introduzione all\u2019oscuro<\/strong><\/em>
\nGast\u00f3n Solnicki, Argentina\/Austria, doc., 2018, 71\u2019<\/p>\n

Invest in Failure (Notes on Film 06-C, Monologue 03)<\/strong><\/em>
\nNorbert Pfaffenbichler, Austria, exp., 2018, 63\u2019<\/p>\n

Nice Girls Don\u2019t Stay for Breakfast<\/strong><\/em>
\nBruce Weber, USA, doc., 2018, 80\u2019<\/p>\n

Romantic Comedy<\/strong><\/em>
\nElizabeth Sankey, United Kingdom, doc., 2019, 79\u2019<\/p>\n

Shorts<\/h2>\n
\n
\n
\n

America\u2019s Grandpa<\/strong><\/em>
\nMark Rappaport, France\/USA, doc., 2018, 31\u2019<\/p>\n

L\u2019espace commun\/The Common Space<\/strong><\/em>
\nRapha\u00eble Bezin, France, exp., 2018, 10\u2019<\/p>\n

Three Casualties<\/strong><\/em>
\nJens Pecho, Germany, exp., 2018, 7\u2019<\/p>\n

Toi qui!\/You Who!<\/strong><\/em>
\nAngelini Claire, France\/Germany, exp., 2018, 17\u2019<\/p>\n

Em Contexto<\/h2>\n
\n
\n
\n

Angel Face<\/strong><\/em>
\nOtto Preminger, USA, fic., 1953, 91′<\/p>\n

Anna Karina souviens-toi<\/strong><\/em>
\nDennis Berry, France, doc., 2017, 54\u2019<\/p>\n

Antoine et Colette<\/strong><\/em>
\nFran\u00e7ois Truffaut, France, fic., 2019, 32\u2019<\/p>\n

Les r\u00e9sultats du f\u00e9minisme\/The Consequences of Feminis<\/strong><\/em>
\nAlice Guy Blach\u00e9, France, fic., 1906, 7\u2019<\/p>\n

Trouble in Paradise<\/strong><\/em>
\nErnst Lubitsch, USA, fic., 1932, 83\u2019<\/p>\n

MOUTH OF MADNESS<\/h1>\n

Features<\/h2>\n
\n
\n
\n

Braquer Poitiers\/Car Wash<\/strong><\/em>
\nClaude Schmitz, France, fic., 2018, 60\u2019<\/p>\n

Cassandro, el Exotico!\/Cassandro, the Exotico<\/strong><\/em>
\nMarie Losier, France, doc., 2018, 73\u2019<\/p>\n

Coincoin et les Z\u2019inhumains\/Coincoin and the Extra-Humans<\/strong><\/em>
\nBruno Dumont, France, fic., 2018, 200\u2019<\/p>\n

Flesh Memory<\/strong><\/em>
\nJacky Goldberg, France, doc., 2018, 59\u2019<\/p>\n

Goldie<\/strong><\/em>
\nSam de Jong, USA, fic., 2019, 88\u2019<\/p>\n

In Fabric<\/strong><\/em>
\nPeter Strickland, United Kingdom, fic., 2018, 118\u2019<\/p>\n

Make Me Up<\/strong><\/em>
\nRachel Maclean, United Kingdom, exp., 2018, 85\u2019<\/p>\n

A Noite Amarela\/The Yellow Night<\/strong><\/em>
\nRamon Porto Mota, Brazil, fic., 2019, 98\u2019<\/p>\n

Seder-Masochism<\/strong><\/em>
\nNina Paley, USA, anim., 2018, 78\u2019<\/p>\n<\/div>\n

Shorts<\/h2>\n
\n
\n
\n

A la poursuite du lapin blanc\/Follow the White Rabbid<\/strong><\/em>
\nMeat Dept, France, anim., 2018, 3\u2019<\/p>\n

Caterpillarplasty<\/strong><\/em>
\nDavid Barlow-Krelina, Canada, anim., 2018, 5\u2019<\/p>\n

Chowboys: An American Folktale<\/strong><\/em>
\nAdam Brooks, Matthew Kennedy, Conor Sweeney, Jeremy Gillespie, Steven Kostanski, Canada, fic., 2018, 9\u2019<\/p>\n

Docking<\/strong><\/em>
\nTrevor Anderson, USA, exp., 2019, 4\u2019<\/p>\n

Egg Touching<\/strong><\/em>
\nPeter Millard, United Kingdom, anim., 2018, 2\u2019<\/p>\n

Food Chain<\/strong><\/em>
\nMari Kivi, Liis Kokk, Estonia, anim., 2018, 9\u2019<\/p>\n

Guy Proposes to His Girlfriend on a Mountain<\/strong><\/em>
\nBernhard Wenger, Austria, fic., 2019, 13\u2019<\/p>\n

Lavo<\/strong><\/em>
\nSasha Svirsky, Russia, anim., 2017, 2\u2019<\/p>\n

The Procedure 2<\/strong><\/em>
\nCalvin Lee Reeder, USAA, fic., 2019, 3\u2019<\/p>\n

Right Place, Wrong Time<\/strong><\/em>
\nEros Vlahos, United Kingdom, fic., 2018, 6\u2019<\/p>\n

Slug Life<\/strong><\/em>
\nSophie Koko Gate, United Kingdom, anim., 2018, 7\u2019<\/p>\n

Tomatic<\/strong><\/em>
\nChristophe M. Saber, France\/Switzerland, fic., 2018, 20\u2019<\/p>\n

Wijnwijven\/Wine Wenches<\/strong><\/em>
\nEsther Heerikhuisen, Holland, anim., 2018, 3<\/p>\n

Special Screenings<\/h1>\n

Program<\/h2>\n
\n
\n
\n

The Apartment<\/strong><\/em>
\nBilly Wilder, USA, fic., 1960, 125\u2019<\/p>\n

The Beach Bum<\/strong><\/em>
\nHarmony Korine, USA\/Switzerland\/United Kingdom\/France, fic., 2019, 96\u2019<\/p>\n

Donzela Guerreira\/Damsel Warrior<\/strong><\/em>
\nMarta Pessoa, Portugal, fic., 2019, 74\u2019<\/p>\n

Mon\u00f3logos com a Hist\u00f3ria\/Monologues with History<\/strong><\/em>
\nSol de Carvalho, Portugal, fic., 2019, 20\u2019<\/p>\n

Sul\/South<\/strong><\/em>
\nIvo M. Ferreira, Portugal, fic., 2019, 90\u2019<\/p>\n

Synonymes\/Synonyms<\/strong><\/em>
\nNadav Lapid, France\/Israel\/Germany, fic., 2019, 123\u2019<\/p>\n

Sou Autor Do Meu Nome Mia Couto\/I Am the Author of My Name Mia Couto<\/strong><\/em>
\nSolveig Nordlund, Portugal, doc., 2019, 52\u2019<\/p>\n

Um Ramad\u00e3o em Lisboa\/A Ramadan in Lisbon<\/strong><\/em>
\nAmaya Sumpsi, Carlos Lima, Catarina Alves Costa, Joana Lucas, Raquel Carvalheira, Teresa Costa, Portugal, doc., 2019, 66\u2019<\/p>\n

Understory<\/strong><\/em>
\nMargarida Cardoso, Portugal, doc., 2019, 81\u2019<\/p>\n<\/div>\n

Macau Focus
\n20 years later<\/h2>\n
\n
\n
\n

Cat Security<\/strong><\/em>
\nLou Ka Choi, Macau, anim., 2018, 4\u2019<\/p>\n

The Cricket Dynasty<\/strong><\/em>
\nChang Seng Pong, Macau, doc., 2018, 45\u2019<\/p>\n

G.D.P.: Grandmas\u2019 Dangerous Project<\/strong><\/em>
\nPeeko Wong, Macau, fic., 2018, 21\u2019<\/p>\n

Hotel Imp\u00e9rio\/Empire Hotel<\/strong><\/em>
\nIvo M. Ferreira, Portugal\/Macau, fic., 2018, 82\u2019<\/p>\n

Rabbit Meets Crocodile<\/strong><\/em>
\nSam Kin Hang, Macau, anim., 2018, 4\u2019<\/p>\n

Sheep<\/strong><\/em>
\nMak Kit Wai, Macau, fic., 2018, 15\u2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

There will be more than two hundred and fifty films telling the story of the 16th edition of IndieLisboa, between May 2nd and May 12th. A diverse program that looks into Brazilian cinematography, making it one of the highlights in the Independent Hero section; dedicates a retrospective to the great muse of French cinema, Anna […]<\/p>\n","protected":false},"author":3,"featured_media":9716,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[57],"tags":[],"class_list":["post-10332","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10332","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/comments?post=10332"}],"version-history":[{"count":0,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10332\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media\/9716"}],"wp:attachment":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media?parent=10332"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/categories?post=10332"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/tags?post=10332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}