{"id":10398,"date":"2020-03-06T10:59:55","date_gmt":"2020-03-06T10:59:55","guid":{"rendered":"https:\/\/indielisboa.com\/retrospectives-from-berlim-to-senegal-we-destroyed-walls-and-raised-voices\/"},"modified":"2020-03-06T10:59:55","modified_gmt":"2020-03-06T10:59:55","slug":"retrospectives-from-berlim-to-senegal-we-destroyed-walls-and-raised-voices","status":"publish","type":"post","link":"https:\/\/indielisboa.com\/en\/2020\/03\/06\/retrospectives-from-berlim-to-senegal-we-destroyed-walls-and-raised-voices\/","title":{"rendered":"Retrospectives: from Berlim to Senegal we destroyed walls and raised voices"},"content":{"rendered":"

A retrospective of the full work of Senegalese director Ousmane Semb\u00e8ne<\/strong>, films by director Mati Diop<\/strong>, and a celebration of the 50th anniversary of the Berlinale Forum<\/strong>, are some of the novelties of the 17th edition of IndieLisboa,<\/strong> in 2020. A triangulation of voices so often muffled throughout the political, social and cinematographic history that we now revisit in a dialogue with echoes also in the recent film program of the festival, to be revealed on April 2nd.<\/p>\n

Together with Cinemateca Portuguesa, IndieLisboa presents the complete retrospective of the work of the father of African cinema, Ousmane Semb\u00e8ne, a cinema marked by feminism, the class struggle, against the Europeanization of Senegalese culture and the brutality of colonialism. With Semb\u00e8ne, a journey begins from within, a counterpoint to the European vision that dominates film production. These are films that operate a filmic and historical repair, that are not content with stereotypes, do not seek aestheticization. A cinema without calculation or fear of a new language and that breathes freely.<\/p>\n

To mark the 50th anniversary of the Berlinale Forum, IndieLisboa will screen a selection that includes some of the films shown in its first edition in 1971, at the time called the International Forum of New Cinema. These were films that challenged the status quo and opened the door to new aesthetics. They were reactions to the turbulent politics of their times and, therefore, they were essential to the political phenomenon. At the time, addressing issues such as anti-colonial struggles, women’s rights and LGBTQ rights, opened up new political and cinematic roads.<\/p>\n

In the Silvestre section, the focus will be on the Franco-Senegalese director Mati Diop, who competed with her first feature film Atlantique<\/em> at the Festival de Cannes. We will show your work as a director, from the feature Atlantique<\/em> to the short films Liberian Boy, Mille Soleils<\/em>, Big in Vietnam and Snow Canon<\/em>. Mati will be showing again at IndieLisboa the film Mille Soleills<\/em> that won in 2013 the international short film competition, a tribute to the film Touki Bouki<\/em> by his uncle Djibril Diop Mamb\u00e9ty, a renowned Senegalese filmmaker.<\/p>\n

Retrospectiva: Ousmane Semb\u00e8ne<\/b>
\nMoolad\u00e9\u00a0<\/em><\/strong>(2004)
\nFaat Kin\u00e9<\/strong>\u00a0<\/em>(2001)
\nGuelwaar<\/strong>\u00a0<\/em>(1992)
\nCamp de Thiaroye <\/em><\/strong>(1988)
\nCeddo<\/strong>\u00a0<\/em>(1977)
\nXala<\/strong> <\/em>(1975)
\nEmita\u00ef\u00a0<\/em><\/strong>(1971)
\nTauw\u00a0<\/em><\/strong>(1970)
\nMandabi<\/strong>\u00a0<\/em>(1968)
\nBlack Girl<\/strong> <\/em>(1966)<\/em>
\nNiaye<\/strong>\u00a0<\/em>(1964)
\nBorom sarret <\/em><\/strong>(1963)<\/p>\n

Retrospectiva: 50 Anos do F\u00f3rum da Berlinale<\/b>
\nEldrige Cleaver, Black Panther<\/strong><\/em>, William Klein (1970)
\nW.R. \u2013 Misterije Organizma \/ W.R. \u2013 Mysteries of the Organism<\/strong><\/em>, Du\u0161an Makavejev (1971)
\nAngela \u2013 Portrait of A Revolutionary<\/strong><\/em>, \u00a0Yolande du Luart (1971)
\nEl cuarto poder<\/strong><\/em>, Helena Lumbreras, Mariano Lisa (1971)
\nOstia<\/strong><\/em>, Sergio Citti (1970)
\nSoleil \u00d4 \/ Oh, Sun!<\/strong> <\/em>, Med Hondo (1970)
\nMes voisins \/ My Neighbours<\/strong> <\/em>, Med Hondo (1971)
\nEine Pr\u00e4mie f\u00fcr Irene \/ Bonus for Irene<\/strong><\/em>, Helke Sander (1971)
\nThe Woman’s Film (Newsreel #55)<\/strong> <\/em>, Women\u2019s Caucus \u2013 San Francisco Newsreel (1971)
\nMonangambeee<\/strong>,<\/em> Sarah Maldoror (1969)
\nPhela-ndaba (End of the Dialogue)<\/strong><\/em>, Members of the Pan Africanist Congress\u00a0 (1970)
\nNicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt \/ It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives<\/strong><\/em>, Rosa Von Praunheim (1971)<\/p>\n

Foco Silvestre: Mati Diop
\n<\/b>Atlantique<\/strong><\/em>, Mati Diop (2019)
\nLiberian Boy, <\/em><\/strong>Mati Diop and\u00a0<\/em>Manon Lutanie\u00a0<\/em>(2015)
\nMille Soleils<\/em><\/strong>, <\/em>Mati Diop <\/em>(2013)
\nBig in Vietnam, <\/em><\/strong>Mati Diop\u00a0<\/em>(2012)
\nSnow Canon,\u00a0<\/strong>Mati Diop\u00a0<\/em>(2011)
\nAtlantiques<\/strong>, Mati Diop\u00a0<\/em>(<\/span>2009)<\/p>\n","protected":false},"excerpt":{"rendered":"

A retrospective of the full work of Senegalese director Ousmane Semb\u00e8ne, films by director Mati Diop, and a celebration of the 50th anniversary of the Berlinale Forum, are some of the novelties of the 17th edition of IndieLisboa, in 2020. A triangulation of voices so often muffled throughout the political, social and cinematographic history that […]<\/p>\n","protected":false},"author":3,"featured_media":9864,"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-10398","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\/10398","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=10398"}],"version-history":[{"count":0,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10398\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media\/9864"}],"wp:attachment":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media?parent=10398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/categories?post=10398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/tags?post=10398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}