{"id":10407,"date":"2020-04-30T05:00:08","date_gmt":"2020-04-30T04:00:08","guid":{"rendered":"https:\/\/indielisboa.com\/check-here-the-film-selection-of-indielisboa-2020\/"},"modified":"2020-04-30T05:00:08","modified_gmt":"2020-04-30T04:00:08","slug":"check-here-the-film-selection-of-indielisboa-2020","status":"publish","type":"post","link":"https:\/\/indielisboa.com\/en\/2020\/04\/30\/check-here-the-film-selection-of-indielisboa-2020\/","title":{"rendered":"Check here the film selection of IndieLisboa 2020"},"content":{"rendered":"

Today, April 30th, the 17th IndieLisboa was supposed to start in Lisbon. For this reason, we decided to symbolically present most of the selected films of this 2020 edition. From August 25th to September 5th, IndieLisboa – International Film Festival will bring to the audience the best and latest national and international cinema to Portugal.<\/strong><\/p>\n

A transversal program that crosses borders, brings cultures together and gives voice to movements that have marked history. Starting with the retrospective of the work of Senegalese director Ousmane Semb\u00e8ne and the retrospective that celebrates the 50th anniversary of the Berlinale<\/em> Forum, composed of films shown in its first edition in 1971. In the Silvestre section, the focus will be on the Franco-Senegalese director Mati Diop, who competed with her first feature film Atlantique<\/em><\/strong> at the Cannes Film Festival. In the main competitions, a special selection of recent productions will be screened, in addition to the other sections of the festival for different cinema lovers, who like music, linked to history and political and social urgencies, and those who are also looking to celebrate.<\/p>\n

A special highlight for the international competition, one of the most awaited at the festival, this year consisting of 12 features and 31 short films. Among the feature films, it is fair to highlight two titles: the Senegalese Baamum Nafi \/ Nafi’s father<\/strong><\/em>, by Mamadou Dia; and Eyimofe \/ This Is My Desire<\/strong><\/em>, by Arie Esiri and Chuko Esiri, from Nigeria, ensuring a strong African presence in this edition of the festival. In addition, there are also two Spanish filmmakers, Luis L\u00f3pez Carrasco (El An\u00f5 del Descubrimiento \/ The Year of the Discovery<\/strong><\/em>), who tells us about EXPO’92 and the other Spain that was not visible in this exhibition, and Lois Pati\u00f1o (L\u00faa Vermella \/ Red Moon Tide<\/em><\/strong>) who tells us about the myths of Galicia. There is also the return of the Argentine director Jazmin Lopez with her film Si yo fuera el invierno mismo \/ If I Were the Winter Itself<\/strong><\/em>, with the direction of photography by the Portuguese cinematographer Rui Po\u00e7as.<\/p>\n

In the short films competition, the French Tendre<\/strong><\/em>, by Isabel Pagliai, can be highlighted, as well as a group of young authors, such as Adinah Dancyger (Moving<\/strong><\/em>), D\u00e9jeuner sur l’herbe<\/strong><\/em>, by Jocelyn Charles, Jules Bourges, Nathan Harbonn Viaud and Pierre Rougemont, or Os \u00daltimos Rom\u00e2nticos do Mundo<\/strong><\/em>, by Henrique Arruda, which had its world premiere at the last Tiradentes festival in 2020 and is yet another strong highlight for this festival.<\/p>\n

The Silvestre section of IndieLisboa finds its standard in the singularity. We show, under the wing Silvestre, works that reject established formulas and awaken new languages. In addition to the 22 short films selected, the 17 feature films this year show the latest works by renowned authors, such as Bruno Dumont, Sergei Loznitsa, Radu Jude, Tsai Ming-Liang along with new voices such as Monia Chokri, Camilo Restrepo, or the collective The Living and the Dead Ensemble, among others.<\/p>\n

The full program for IndieLisboa 2020 will be available at the end of July on the official website and app of the festival, where the Portuguese films selected for the National Competition, Brand New, Special Screenings, and also the parallel activities and industry events will be released.<\/p>\n

The 17th edition of IndieLisboa – International Film Festival has new dates. It will run from August 25th to September 5th at Cinema S\u00e3o Jorge, Culturgest, Cinema Ideal and at Cinemateca Portuguesa.<\/p>\n

Image: Eyimofe \/ This Is My Desire<\/strong><\/em>, Arie Esiri\/Chuko Esiri<\/p>\n

List of films announced:<\/div>\n
<\/div>\n
INTERNATIONAL COMPETITION<\/b><\/div>\n
<\/div>\n
\n
Feature<\/u><\/div>\n
El A\u00f1o del Descubrimiento \/ The Year of the Discovery<\/strong><\/em>, Luis L\u00f3pez Carrasco, doc., Spain, 2020, 200′<\/div>\n
Baamum Nafi \/ Nafi’s father<\/strong><\/em>, Mamadou Dia, fic., Senegal, 2019, 109′<\/div>\n
Babai<\/strong><\/em>, Artem Aisagaliev, fic., Russia\/USA, 2020, 65′<\/div>\n
Barzaj \/ Barzakh<\/strong><\/em>, Alejandro Salgado, doc., Spain, 2019, 73′<\/div>\n
Eyimofe \/ This Is My Desire<\/strong><\/em>, Arie Esiri\/Chuko Esiri, fic., Nigeria, 2020, 116′<\/div>\n
A Febre \/ The Fever<\/strong><\/em>, Maya Da-Rin, fic., Brazil\/France\/Germany, 2019, 98′<\/div>\n
Ghost Tropic<\/strong><\/em>, Bas Devos, fic., Belgium, 2019, 85′<\/div>\n
L’\u00cele aux oiseaux \/ Bird Island<\/strong><\/em>, Maya Kosa\/Sergio da Costa, doc., Switzerland, 2019, 62′<\/div>\n
L\u00faa Vermella \/ Red Moon Tide<\/strong><\/em>, Lois Pati\u00f1o, fic., Spain, 2020, 84\u2019<\/div>\n
Il n’y aura plus de nuit \/ There Will Be No More Night<\/strong><\/em>, El\u00e9onore Weber, doc., France, 2020, 75′<\/div>\n
Si yo fuera el invierno mismo \/ If I Were the Winter Itself<\/strong><\/em>, Jazmin Lopez, fic., Argentina, 2020, 92′<\/div>\n
Victoria<\/strong><\/em>, Isabelle Tollenaere\/Sofie Benoot\/Liesbeth De Ceulaer, doc., Belgium, 2020, 71′<\/div>\n
Short<\/u><\/div>\n
Abiding<\/strong><\/em>, Ugo Petronin, fic.\/doc., Netherlands, 2019, 5′<\/div>\n
Abissu<\/strong><\/em>, Matteo Moeschler, fic., France, 2019, 13′<\/div>\n
\u00c4lgen<\/em><\/strong>, Erik Svetoft, anim., Sweden, 2019, 8′<\/div>\n
Avant notre heure<\/strong><\/em>, Chlo\u00e9 Terren, fic., France, 2019, 22′<\/div>\n
Batalha<\/em><\/strong>, Clara Lazarim\/Ricardo Mollan Saito\/Caio Castor\/Guilherme Cerqueira C\u00e9sar, doc., Brazil, 2019, 15′<\/div>\n
Black Sheep Boy<\/strong><\/em>, James Molle, anim., France, 2019, 15′<\/div>\n
Breakfast in Kisumu<\/strong><\/em>, Rebecca Achieng Ajulu-Bushell, doc., United Kingdom\/Kenya\/South Africa, 2019, 37′<\/div>\n
Bugs and Beasts Before the Law<\/strong><\/em>, Alexis Mitchell\/Sharlene Bamboat, exp., Canada\/Germany, 2019, 33′<\/div>\n
City of Children<\/strong><\/em>, Arantxa Hern\u00e1ndez Barthe, doc., United Kingdom, 2019, 16′<\/div>\n
D\u00e9jeuner sur l\u2019herbe \/ Lunch on the Grass<\/strong><\/em>, Jules Bourges\/Jocelyn Charles\/Nathan Harbonn Viaud\/Pierre Rougemont, anim., France, 2019, 7′<\/div>\n
Douma Underground<\/strong><\/em>, Tim Alsiofi, doc., Lebanon, 2019, 11′<\/div>\n
Fiebre Austral \/ Austral Fever<\/strong><\/em>, Thomas Woodroffe, fic., Chile, 2019, 21′<\/div>\n
Fun Factory<\/em><\/strong>, Lisa Brooke, fic., Norway\/Germany, 2019, 12′<\/div>\n
Genius Loci, Adrien M\u00e9rigeau, anim., France, 2019, 16′<\/div>\n
Mardi de 8 \u00e0 18 \/ Tuesday From 8 to 6<\/em><\/strong>, Cecilia de Arce, fic., France, 2019, 26′<\/div>\n
The Memory Atlas<\/strong><\/em>, Domenico Centroni, doc., Belgium\/Ital\/Portugal, 2020, 10′<\/div>\n
Moving<\/strong><\/em>, Adinah Dancyger, fic., USA, 2019, 8′<\/div>\n
Notes on the White Plastic Chair- the Movie<\/strong><\/em>, APRDELESP, exp., Mexico, 2019, 16′<\/div>\n
Pol.len<\/em><\/strong>, Blanca Camell Gal\u00ed, fic., France, 2019, 16′<\/div>\n
Poslednja slika o ocu \/ The Last Image of Father<\/strong><\/em>, Stefan Djordjevic, fic., Serbia, 2019, 20′<\/div>\n
Rod\u00e9o \/ Rodeo<\/em><\/strong>, Mario Valero, doc.\/exp., Spain\/France, 2019, 33′<\/div>\n
Seabird<\/strong><\/em>, Arthur Vermorel, fic., France, 2020, 23′<\/div>\n
Sh\u0101nzh\u00e0i Screens<\/strong><\/em>, Paul Heintz, doc., China\/France, 2020, 23′<\/div>\n
Sukar<\/strong><\/em>, Ilias Dupuis-El Faris, fic., France\/Morocco, 2019, 9′<\/div>\n
Symbiosis<\/strong><\/em>, Nadja Andrasev, anim., France\/Hungary, 2019, 13′<\/div>\n
Tendre<\/strong><\/em>, Isabel Pagliai, doc., France, 2020, 43′<\/div>\n
There Were Four of Us<\/strong><\/em>, Cassie Shao, anim., USA, 2019, 7′<\/div>\n
This Means More<\/strong><\/em>, Nicolas Gourault, doc., France, 2019, 22′<\/div>\n
Toomas teispool metsikute huntide orgu \/ Toomas Beneath the Valley of the Wild Wolves<\/strong><\/em>, Chintis Lundgren, Animation, Estonia\/Croatia, 2019, 18′<\/div>\n
Os \u00daltimos Rom\u00e2nticos do Mundo<\/strong><\/em>, Henrique Arruda, fic., Brazil, 2020, 23′<\/div>\n
(You\u2019ll Make It In) Florida<\/strong><\/em>, Phil Chernyak, fic., USA, 2019, 20′<\/div>\n
<\/div>\n
SILVESTRE<\/strong><\/div>\n
\n
Feature<\/u><\/div>\n
Breve Miragem de Sol \/ Burning Night<\/em><\/strong>, Eryk Rocha, fic., Brazil\/France\/Argentina, 2019, 98′<\/div>\n
Cemetery<\/strong><\/em>, Carlos Casas, doc., France\/United Kingdom\/Poland\/Uzbekistan, 2019, 85′<\/div>\n
Los Conductos<\/strong><\/em>, Camilo Restrepo, fic., Colombia\/France\/Brazil, 2020, 70′<\/div>\n
Her Name Was Europa<\/strong><\/em>, Anja Dornieden\/Juan David Gonz\u00e1lez Monroy, doc.\/exp., Germany, 2020, 76′<\/div>\n
La femme de mon fr\u00e8re \/ A Brother’s Love<\/strong><\/em>, Monia Chokri, fic., Canada, 2019, 107′<\/div>\n
Isabella<\/strong><\/em>, Mat\u00edas Pi\u00f1eiro, fic., Argentina\/France, 2020, 78′<\/div>\n
Jeanne \/ Joana D’Arc<\/strong><\/em>, Bruno Dumont, fic., France, 2019, 2019, 98′<\/div>\n
Ouvertures<\/strong><\/em>, The Living and the Dead Ensemble, fic.\/doc.\/exp., United Kingdom\/France, 2020, 132′<\/div>\n
Overseas<\/strong><\/em>, Sung-a Yoon, doc., Belgium\/France, 2019, 90′<\/div>\n
Responsabilidad empresarial \/ Corporate Accountability<\/strong><\/em>, Jonathan Perel, doc., Argentina, 2020, 68′<\/div>\n
Rizi \/ Days<\/strong><\/em>, Tsai Ming-Liang, fic., Taiwan, 2019, 127′<\/div>\n
Si c’\u00e9tait de l’amour \/ If it were love<\/strong><\/em>, Patric Chiha, doc., France, 2020, 82′<\/div>\n
State Funeral<\/strong><\/em>, Sergei Loznitsa, doc., Netherlands\/Lithuania, 2019, 135′<\/div>\n
Tipografic majuscul \/ Uppercase Print<\/strong><\/em>, Radu Jude, doc., Romania, 2020, 128′<\/div>\n
Todos os Mortos \/ All the Dead Ones<\/strong><\/em>, Caetano Gotardo\/Marco Dutra, fic., Brazil\/France, 2020, 120′<\/div>\n
Vendr\u00e1 la muerte y tendr\u00e1 tus ojos \/ Death Will Come and Shall Have Your Eyes<\/em><\/strong>, Jos\u00e9 Luis Torres Lleiva, fic., Chile\/Germany\/Argentina, 2019, 90′<\/div>\n
The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)<\/strong><\/em>, C.W. Winter\/Anders Edstr\u00f6m, doc., USA\/Sweden\/Japan\/Hong Kong\/China\/United Kingdom, 2020, 480′<\/div>\n
Short<\/u><\/div>\n
Apiyemiyek\u00ee?<\/em><\/strong>, Ana Vaz, doc.\/exp., Brazil\/France\/Netherlands\/Portugal, 2019, 28′<\/div>\n
Apparition<\/strong><\/em>, Isma\u00efl Bahri, exp., Tunisia\/France, 2019, 3′<\/div>\n
Arnold Schwarzenegger \u2013 The Art of Bodybuilding<\/em><\/strong>, Babeth M. VanLoo, doc.\/exp., Netherlands\/USA, 2020, 8′<\/div>\n
Average Happiness<\/strong><\/em>, Maja Gehrig, anim., Switzerland, 2019, 7′<\/div>\n
A Bright Summer Diary<\/strong><\/em>, Lei Lei, doc., China\/USA, 2020, 28′<\/div>\n
Communicating Vessels<\/strong><\/em>, Annie MacDonell\/Ma\u00efder Fortun\u00e9, doc.\/exp., Canada, 2020, 35′<\/div>\n
Daisies Cloud Passing<\/strong><\/em>, Peter Todd, doc.\/exp., United Kingdom, 2019, 1′<\/div>\n
Former Cult Member Hears Music For The First Time<\/em><\/strong>, Kristoffer Borgli, fic., Norway\/USA, 2020, 12′<\/div>\n
Further Radical<\/strong><\/em>, Stefano Canapa, anim.\/exp., France, 2020, 7′<\/div>\n
God’s Nightmares<\/strong><\/em>, Daniel Cockburn, exp., United Kingdom, 2019, 6′<\/div>\n
Hard, Cracked The Wind<\/strong><\/em>, Mark Jenkin, fic., United Kingdom, 2019, 17′<\/div>\n
I am (For the Birds)<\/strong><\/em>, Stephen Sutcliffe, doc., United Kingdom, 2019, 3′<\/div>\n
Ink in Milk<\/em><\/strong>, Gernot Wieland, exp., Germany, 2019, 12′<\/div>\n
The Lie<\/em><\/strong>, Rafael Sp\u00ednola\/Klaus Diehl, doc.\/exp., exp., United Kingdom, 2019, 6′<\/div>\n
My Galactic Twin Galaction<\/em><\/strong>, Sasha Svirsky, anim., Russia, 2020, 7′<\/div>\n
Sapphire Crystal<\/em><\/strong>, Virgil Vernier, doc.\/fic., France, 2019, 31′<\/div>\n
The Seismic Form<\/em><\/strong>, Antoinette Zwirchmayr, doc.\/exp., Austria, 2020, 15′<\/div>\n
Signal 8<\/em><\/strong>, Simon Liu, exp., Hong Kong, 2019, 14′<\/div>\n
Shiver of love<\/em><\/strong>, Maxence Stamatiadis, doc.\/exp., France, 2019, 20′<\/div>\n
TX – REVERSE<\/em><\/strong>, Martin Reinhart\/Virgil Widrich, doc.\/exp., Austria, 2019, 5′<\/div>\n
Valerio’s Day Out<\/em><\/strong>, Michael Arcos, exp., Colombia\/USA, 2019, 9′<\/div>\n
Waste no.6: How Great<\/em><\/strong>, Jan Ij\u00e4s, doc., Finland, 2019, 45′<\/div>\n
<\/div>\n
<\/div>\n
FOCUS SILVESTRE<\/strong><\/div>\n
<\/div>\n
\n
Feature<\/u><\/div>\n
Atlantique \/ Atlantics<\/em><\/strong>, Mati Diop, fic., France\/Senegal\/Belgium, 2019, 106′<\/div>\n
Short<\/u><\/span><\/div>\n
Atlantiques<\/strong><\/em>, Mati Diop, doc., France, 2009, 16′<\/div>\n
Snow Canon<\/strong><\/em>, Mati Diop, fic., France, 2011, 34′<\/div>\n
Big in Vietnam<\/strong><\/em>, Mati Diop, fic., France, 2012, 29′<\/div>\n
Mille Soleils<\/strong><\/em>, Mati Diop, doc., France, 2013, 45′<\/div>\n
Liberian Boy<\/strong><\/em>, Mati Diop\/Manon Lutanie, fic., France\/Canada, 2015, 5<\/div>\n
<\/div>\n
RETROSPECTIVE: OUSMANE SEMB\u00c8NE<\/strong><\/div>\n
<\/div>\n
\n
Feature<\/u><\/div>\n
La noire de\u2026 \/ Black Girl<\/strong>, Ousmane Semb\u00e8ne, fic., Senegal\/France, 1966, 65′
\nMandabi<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., France\/Senegal, 1968, 90′<\/div>\n
Emita\u00ef \/ God of Thunder<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, 1971, 103′<\/div>\n
Xala<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, 1975, 123′<\/div>\n
Ceddo<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, 1977, 120′<\/div>\n
Camp de Thiaroye, Ousmane Semb\u00e8ne, fic. , Senegal\/Algeria\/Tunisia, 1988, 157′<\/div>\n
Guelwaar<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., France\/Germany\/Senegal\/USA, 1992, 115′<\/div>\n
Faat Kin\u00e9, Ousmane Semb\u00e8ne, fic., Senegal, 2001, 120′<\/div>\n
Moolaad\u00e9<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, France\/Morocco\/Tun\u00edsia\/Cameroon\/Burkina Faso, 2004, 124′<\/div>\n
Short<\/u><\/div>\n
Borom sarret \/ The Wagoner,<\/strong><\/em> Ousmane Semb\u00e8ne, doc., Senegal, 1963, 20′<\/div>\n
Niaye<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, 1964, 35′<\/div>\n
Tauw<\/strong><\/em>, Ousmane Semb\u00e8ne, fic., Senegal, 1970, 24′<\/div>\n
RETROSPECTIVE: 50 YEARS OF BERLINALE FORUM<\/em><\/strong><\/div>\n
<\/div>\n
\n
Feature<\/u><\/div>\n
Angela \u2013 Portrait of A Revolutionary<\/strong><\/em>, Yolande du Luart, doc., USA\/France, 1971, 60′<\/div>\n
Eldrige Cleaver, Black Panther<\/strong><\/em>, William Klein, doc., France\/Algeria, 1970, 75′<\/div>\n
Nicht 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<\/em><\/strong>, Rosa Von Praunheim, doc., Federal Republic of Germany, 1971, 67′<\/div>\n
Soleil \u00d4 \/ Oh, Sun!<\/em><\/strong>, Med Hondo, fic., France\/Mauritania, 1970, 104′<\/div>\n
W.R. \u2013 Misterije Organizma \/ W.R. \u2013 Mysteries of the Organism<\/em><\/strong>, Du\u0161an Makavejev, fic., Yugoslavia\/Germany, 1971, 84\u2019<\/div>\n
Short<\/u><\/span><\/div>\n
Eine Pr\u00e4mie f\u00fcr Irene \/ Bonus for Irene<\/em><\/strong>, Helke Sander, fic., Federal Republic of Germany, 1971, 50′<\/div>\n
El cuarto poder<\/em><\/strong>, Helena Lumbreras, Mariano Lisa, doc., Spain, 1971, 45′<\/div>\n
Mes voisins \/ My Neighbours<\/strong><\/em>, Med Hondo, doc., France, 1971, 35′<\/div>\n
Monangamb\u00e9<\/em><\/strong>, Sarah Maldoror, fic., Algeria, 1969, 18′<\/div>\n
Phela-ndaba \/ End of the Dialogue<\/strong><\/em>, Members of the Pan Africanist Congress, doc., South Africa, 1970, 45′<\/div>\n
The Woman’s Film (Newsreel #55)<\/strong><\/em>, Women\u2019s Caucus \u2013 San Francisco Newsreel, doc., USA, 1971, 41′<\/div>\n
<\/div>\n
INDIEMUSIC<\/strong><\/div>\n
<\/div>\n
\n
Feature<\/u><\/div>\n
Billie<\/strong><\/em>, James Erskine, doc., United Kingdom, 2019, 96′<\/div>\n
Caos e Afinidade \/ Chaos and Affinity<\/strong><\/em>, Pedro Gon\u00e7alves, doc., Portugal, 2020, 77′<\/div>\n
Eletronica:Mentes<\/em><\/strong>, D\u00e1cio Pinheiro\/Denis Giacobelis\/Paulo Beto, doc., Brazil, 2019, 75′<\/div>\n
Gimme Shelter<\/strong><\/em>, Albert Maysles\/David Maysles\/Charlotte Zwerin, doc., USA, 1970, 91′<\/div>\n
The Heart is a Drum<\/strong><\/em>, Jacob Fr\u00f6ss\u00e9n, doc., Su\u00e9cia, 2019, 71′<\/div>\n
Keyboard Fantasies: The Beverly Glenn-Copeland Story<\/strong><\/em>, Posy Dixon, doc., United Kingdom\/Canada\/Belgium\/Netherlands\/USA, 2019, 60′<\/div>\n
Laurel Canyon: A Place In Time<\/strong><\/em>, Alison Ellwood, doc., USA, 2020, 160′<\/div>\n
Other, Like Me<\/strong><\/em>, Marcus Werner Hed, Dan Fox, doc., United Kingdom, 2020, 82′<\/div>\n
Le Regard de Charles \/ Aznavour by Charles<\/em><\/strong>, Marc di Domenico\/Charles Aznavour, doc., France, 2019, 75′<\/div>\n
Show Me the Picture: The Story of Jim Marshall<\/strong><\/em>, Alfred George Bailey, doc., United Kingdom\/USA, 2019, 92′<\/div>\n
SOA<\/strong><\/em>, Raquel Castro, doc., Portugal, 2020, 78′<\/div>\n
White Riot<\/strong><\/em>, Rubika Shah, doc., United Kingdom, 2019, 80′<\/div>\n
Short<\/u><\/div>\n
Hacer una Diagonal con la Musica \/ Making a Diagonal with Music<\/strong><\/em>, Aura Satz, United Kingdom, doc., 2020, 10′<\/div>\n
Ricardo<\/strong><\/em>, Lu\u00eds Sobreiro, fic., Portugal, 2020, 29′<\/div>\n
A Vida Dura Muito Pouco<\/strong><\/em>, Dinis Leal Machado, Portugal, doc., 2020, 23′<\/div>\n
<\/div>\n
DIRECTOR’S CUT<\/strong><\/div>\n
<\/div>\n
\n
Feature<\/u><\/span><\/div>\n
Conrad Veidt \u2014 My Life<\/em><\/strong>, Mark Rappaport, doc., USA\/France, 2019, 61′<\/div>\n
La dialectique peut-elle casser des briques? \/ Can Dialectics Break Bricks? (vers\u00e3o restaurada)<\/strong><\/em>, Ren\u00e9 Vi\u00e9net, fic., France\/Hong Kong, 1973, 90′<\/div>\n
Filmfarsi<\/em><\/strong>, Ehsan Khoshbakht, doc., Iran\/United Kingdom, 2019, 84′<\/div>\n
Fantasmas do Imp\u00e9rio \/\u00a0Ghosts of an Empire<\/strong><\/em>, Ariel de Bigault, doc., Portugal\/France, 2020, 120′<\/div>\n
Slu\u010daj Makavejev ili Proces u bioskopskoj sali \/ The Makavejev Case or Trial in a Movie Theater<\/strong><\/em>, Goran Radovanovi\u0107, doc., Serbia, 2019, 74′<\/div>\n
El TANGO DEL VIUDO y su espejo deformante \/ THE TANGO OF THE WIDOWER And Its Distorting Mirror<\/strong><\/em>, Ra\u00fal Ruiz\/Valeria Sarmiento, fic., Chile, 2020, 64′<\/div>\n
Short<\/u><\/div>\n
Absolute Street<\/strong><\/em>, Jan Ij\u00e4s, exp., Finland, 2019, 3′<\/div>\n
Anna-Nana<\/strong><\/em>, Mark Rappaport, doc., USA\/France, 2020, 26′<\/div>\n
Eclipse – an aesthetic of censorship<\/strong><\/em>, Gilles Ribero\/No\u00e9 Grenier\/Gwendal Sartre, exp., France, 2018, 16′<\/div>\n
<\/div>\n
MOUTH OF MADNESS<\/b><\/div>\n
<\/div>\n
Feature<\/u><\/div>\n
\n
Dreamland<\/strong><\/em>, Bruce McDonald, fic., Canada\/Luxembourg\/Belgium, 2019, 92′<\/div>\n
Greener Grass<\/strong><\/em>, Jocelyn DeBoer\/Dawn Luebbe, fic., USA, 2019, 95′<\/div>\n
Spalova\u010d mrtvol \/ The Cremator<\/strong><\/em>, Juraj Herz, fic., Czech Republic, 1968, 102′<\/div>\n
The Twentieth Century<\/strong><\/em>, Matthew Rankin, fic., Canada, 2019, 90′<\/div>\n
Vivarium<\/em><\/strong>, Lorcan Finnegan, fic., Ireland\/Denmark\/Belgium\/USA, 2019, 97′<\/div>\n
Yummy<\/strong><\/em>, Lars Damoiseaux, fic., Belgium, 2019, 96′<\/div>\n
Short<\/u><\/div>\n
Bad Hair<\/em><\/strong>, Oskar Lehemaa, fic., Estonia, 2019, 15′<\/div>\n
Danny’s Girl<\/strong><\/em>, Emily Wilson, fic., USA, 2019, 13′<\/div>\n
The Fall<\/strong><\/em>, Jonathan Glazer, fic., United Kingdom, 2020, 6′<\/div>\n
Farce<\/strong><\/em>, Robin Jensen, anim., Norway, 2019, 11′<\/div>\n
Heat<\/strong><\/em>, Thessa Meijer, fic., Netherlands, 2019, 2′<\/div>\n
Hot and Tasty<\/strong><\/em>, Laura Jayne Hodkin, anim., United Kingdom, 2019, 4′<\/div>\n
No, I Don’t Want to Dance!,<\/strong><\/em> Andrea Vinciguerra, anim., United Kingdom, 2019, 3′<\/div>\n
Norte\u00f1os<\/strong><\/em>, Grandmas, fic., United Kingdom, 2019, 8′<\/div>\n
Regret<\/strong><\/em>, Santiago Menghini, fic., Canada, 2020, 16′<\/div>\n
Something Doesn’t Feel Right<\/strong><\/em>, Fergal Costello, fic., Ireland, 2019, 10′<\/div>\n
INDIEJ\u00daNIOR<\/strong><\/div>\n
<\/div>\n
\n
Short<\/u><\/div>\n
Afternoon Tea \/ Ch\u00e1 das Cinco<\/strong><\/em>, Andrea Szelesov\u00e1, anim., Czech Republic, 2019, 2′<\/div>\n
Au large \/ Ao Largo<\/strong><\/em>, Mathilde Pepinster, anim., Belgium, 2019, 6′<\/div>\n
ATHLETICUS: Synchronised Trampoline \/ Trampolim Sincronizado<\/strong><\/em>, Nicolas Deveaux, anim., France, 2019, 2′<\/div>\n
ATHLETICUS: Gardien de gymnase \/ Guardas do Gin\u00e1sio<\/strong><\/em>, Nicolas Deveaux, anim., France, 2019, 2′<\/div>\n
Beauty \/ Beleza<\/strong><\/em>, Christina Willings, doc., Canada, 2018, 23′<\/div>\n
Les Cina Malfoutus \/ Os Cinco Desajustados<\/strong><\/em>, C\u00e9lia Rivi\u00e8re, fic., France, 2019, 7′<\/div>\n
The Concrete Jungle \/ A Selva de Bet\u00e3o<\/strong><\/em>, Marie Urb\u00e1nkov\u00e1, anim., Czech Republic, 2019, 8′<\/div>\n
The Dish Washer \/ A M\u00e1quina de Lavar Loi\u00e7a<\/em><\/strong>, Katerina Karhankova\/Alexandra Majova, anim., Czech Republic, 2019, 7′<\/div>\n
Family Bonds \/ La\u00e7os de Fam\u00edlia<\/strong><\/em>, Maria Schmidt, anim., Germany, 2019, 7′<\/div>\n
Les fleurs du papier \/ Flores de Papel<\/strong><\/em>, Marine Varguy, anim., France, 2019, 3′<\/div>\n
Fussel \/ A Linha<\/strong><\/em>, Alex Berweck, anim., Germany, 2019, 5′<\/div>\n
Heatwave \/ Onda de Calor<\/strong><\/em>, Fokion Xenos, anim., Greece\/United Kingdom, 2019, 7′<\/div>\n
Hide \u2018n\u2019 Seek \/ Brincar \u00e0s Escondidas<\/strong><\/em>, Barbora Hal\u00ed\u0159ov\u00e1, anim., Czech Republic, 2019, 6′<\/div>\n
How Much Does the Cloud Weigh \/ Quanto Pesa uma Nuvem?<\/strong><\/em>, Nina Bisyarina, anim., Russia, 2019, 6′<\/div>\n
Hugo & Holger \/ O Hugo e o Holger<\/strong><\/em>, Teddy Halkier Kristiansen, anim., Denmark, 2019, 14′<\/div>\n
Iktamuli \/ Diferen\u00e7as<\/strong><\/em>, Anne-Christine Plate, anim., Germany, 2019, 5′<\/div>\n
The Kindergarten Show \/ Espect\u00e1culo no Jardim de Inf\u00e2ncia<\/strong><\/em>, Loic Bruyere, anim., France, 2019, 8′<\/div>\n
Leaf \/ A Folha<\/strong><\/em>, Aliona Baranova, anim., Czech Republic, 2020, 6′<\/div>\n
The Little Bird and the Bees \/ O Passarinho e as Abelhas<\/strong><\/em>, Lena von D\u00f6hren, anim., Switzerland, 2020, 5′<\/div>\n
Un lynx dans la ville \/ Um Lince na Cidade<\/strong><\/em>, Nina Bisiarina, anim., France, 2019, 6′<\/div>\n
The misfortune of Mister Fox \/ A Desgra\u00e7a do Sr. Raposa<\/strong><\/em>, Sarah Salard, anim., France, 2020, 2′<\/div>\n
My Life in Versailles \/ A Minha Vida em Versalhes<\/strong><\/em>, Cl\u00e9mence Madeleine Perdrillat, anim., France, 2019, 28′<\/div>\n
Northern Lights \/ Aurora Boreal<\/strong><\/em>, Caroline Attia, anim., France, 2019, 15′<\/div>\n
Les oiseaux \/ Os P\u00e1ssaros<\/strong><\/em>, C\u00e9lia Rivi\u00e8re, fic., France, 2019, 7′<\/div>\n
Overboard! \/ Borda Fora<\/strong><\/em>, Filip Po\u0161iva\u010d\/Barbora Valeck\u00e1, anim., Czech Republic, 2019, 12′<\/div>\n
Papa \u00e0 Grandspas \/ Pap\u00e1 a passos largos<\/strong><\/em>, C\u00e9lia Rivi\u00e8re, fic., France, 2019, 7′<\/div>\n
Les popotin de l’h\u00edppopo \/ O Bacio do Hipop\u00f3tamo<\/strong><\/em>, C\u00e9lia Rivi\u00e8re, fic., France, 2019, 7′<\/div>\n
Prince Ki-Ki-Do: On The Run \/ Prince Ki-Ki-Do: em Fuga<\/strong><\/em>, Grega Mastnak, anim., Slovenia, 2019, 5′<\/div>\n
Pumpers Paradise \/ Para\u00edso dos M\u00fasculos<\/strong><\/em>, Eddy Hohf, anim., Germany, 2019, 4′<\/div>\n
Ties \/ La\u00e7os,<\/strong><\/em> Dina Velikovskaya, anim., Russia\/Germany, 2019, 8′<\/div>\n
The Witch & the Baby \/ A Bruxa e o Beb\u00e9<\/strong><\/em>, Evgenia Golubeva, anim., Russia\/United Kingdom, 2020, 5′<\/div>\n
SPECIAL SCREENINGS: 5L PROGRAM<\/strong><\/div>\n
\n
Cinema and literature<\/strong>
\nFrancisca, <\/strong><\/em>Manoel de Oliveira, fic., Portugal, 1981, 167′Cinema and reading<\/strong>
\n858 pages plus au sud, <\/strong><\/em>Gr\u00e9gory Buchert, doc., France, 2011, 59′<\/p>\n

Cinema and language
\nL’Enfant sauvage \/ The Wild Child, <\/strong><\/em>Fran\u00e7ois Truffaut, fic., 1970, 85′<\/p>\n

Cinema and library<\/strong>
\nThe Booksellers, <\/strong><\/em>D.W. Young, doc., USA, 2019, 99′<\/p>\n

Cinema and book<\/strong>
\nResurrezione \/ Ressurection, <\/strong><\/em>Tonino De Bernardi, doc., Italy, 2019, 117′<\/p>\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":"

Today, April 30th, the 17th IndieLisboa was supposed to start in Lisbon. For this reason, we decided to symbolically present most of the selected films of this 2020 edition. From August 25th to September 5th, IndieLisboa – International Film Festival will bring to the audience the best and latest national and international cinema to Portugal. […]<\/p>\n","protected":false},"author":3,"featured_media":9889,"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-10407","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\/10407","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=10407"}],"version-history":[{"count":0,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10407\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media\/9889"}],"wp:attachment":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media?parent=10407"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/categories?post=10407"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/tags?post=10407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}