This year, the open air screenings return to Cinemateca’s terrace and to Biblioteca Pal\u00e1cio Galveias’ garden. Films from sections such as Director’s Cut, Retrospective, IndieJ\u00fanior or even International Competition can be seen under the moonlight.<\/p>\n
Watching the Detectives, Chris Kennedy | exp., 2017, 36′<\/strong> Forensickness, Chlo\u00e9 Galibert-La\u00een\u00e9 | doc., 2020, 40′ Mon. 21:30 | August 23 The last film by German director F.W. Murnau, it was produced by Robert Flaherty, in turn responsible for Nanook of the North<\/i> (1922), the first successful feature-length documentary in American cinemas. This film is divided into two parts, \u201cParadise\u201d and \u201cParadise Lost\u201d, showing the experience of a couple on a Polynesian island, colonized and explored by western France.<\/p>\n Tue. 21:30 | August 24<\/strong> | Tickets<\/a><\/strong><\/p>\n The Portuguese director\u2019s first feature film points to a palimpsest of cinephile references that never cloud Pedro Costa\u2019s authorial imprint. In this film, Vicente and Nino\u2019s life becomes even more unmoored after the abandonment of their father. Clara tries to help them, but it\u2019s a world where survival is a constant struggle. With Pedro Hestnes, Nuno Ferreira and In\u00eas de Medeiros.<\/p>\n Wed. 21:30 | August 25<\/strong> | Tickets<\/a><\/strong><\/p>\n A western with Errol Flynn and Ann Sheridan that tells the story of the soldier Mike McComb, the determined Georgia Moore and Silver City, where McComb opens a thriving saloon. The film, based on a story by Stephen Longstreet, is known for not having an ending \u2014 declared as finished by the studio before it was completed, due to the bad behavior of its stars that led to increased production costs.<\/p>\n Thu. 21:30 | August 26<\/strong> | Tickets<\/a><\/strong><\/p>\n Filip Jan Rymsza, who had already produced The Other Side of the Wind \u2013 A Welles film kept in a shelf for 40 years and released in 2018 \u2013 returns with this conversation between two magisterial figures of American cinema, filmed in 1970. In the two hours of this visual document unknown until now, the two directors vividly debate, questioning the nature of their work and violence in the United States, among other topics. A historical record.<\/p>\n Fri. 21:30 | August 27<\/strong> | Tickets<\/a> A classic of Portuguese cinema that marks the emergence of Paulo Rocha and the New Cinema wave. J\u00falio (Rui Gomes) and Ilda (Isabel Ruth), two working-class youngsters trying to make it in Lisbon, will see their relationship marked by tragedy.<\/p>\n Sat. 21:30 | August 28<\/strong> | Tickets<\/a><\/strong><\/p>\n A classic of Portuguese cinema that marks the emergence of Paulo Rocha and the New Cinema wave. J\u00falio (Rui Gomes) and Ilda (Isabel Ruth), two working-class youngsters trying to make it in Lisbon, will see their relationship marked by tragedy.<\/p>\n Mon. 21:30 | August 30<\/strong> | Tickets<\/a><\/strong><\/p>\n \u00c0 Bissau, le carnaval<\/strong><\/em><\/a>, Sarah Maldoror | doc., 1980, 18′ Thu. 21:30 | September 2<\/strong> | Tickets<\/a><\/strong><\/p>\n L’H\u00f4pital de Leningrad<\/strong><\/em><\/a>, Sarah Maldoror | fic., 1982, 59′ Fri. 21:30 | September 3 A telefilm that faithfully adapts Akli Tadjer\u2019s novel, Les A.N.I du Tassili<\/i> \u2014 \u201cunidentified Algerians\u201d, indicates, the acronym. Like the book, the film follows an Algerian who grew up in France, but will visit the birthplace. He eventually returns, along with the ANI returning from their vacations to go back to the Parisian banlieues<\/i>, happy to be there.<\/p>\n Sat. 21:30 | September 4 | Tickets<\/a> Ana Mercedes Hoyos<\/strong><\/em><\/a>, Sarah Maldoror | doc., 2008, 13′ Mon. 21:30 | Septembter 6 | Tickets<\/a><\/strong><\/p>\n Shiva is a weeklong period of mourning for the Jewish religion and also an opportunity to honor those who have passed away as well as their family. This acerbic comedy puts a young Jewish woman in the thankless position of having to face the most claustrophobic shiva possible, where she finds herself confronted with an ex-girlfriend, a secret sugar daddy and multiple snooping relatives.<\/p>\n Wed. 21:15 | August 25<\/strong> | Tickets<\/a><\/strong><\/p>\n A satire of the global pandemic that we still live in. This film begins with a sex tape that goes awry. At stake is the life and career of Emi, a teacher who is forced by her students\u2019 parents to resign. However, Emi refuses. Recommended for those who enjoy transgressive cinematic experiences \u2013 in the best sense.<\/p>\n Thu. 21:15 | August 26<\/strong> | Tickets<\/a><\/strong><\/p>\n Bill Benz, in his first feature film, reunites with Carrie Brownstein (from the band Sleater-Kinney), with whom he worked on the comedy she created with Fred Armisen (Saturday Night Live<\/i>),\u00a0Portlandia<\/i>. Brownstein is the author of the script alongside Annie Clark, better known as St. Vincent. The idea, in this mockumentary psychological thriller, is to explore who the \u201creal Annie\u201d is through the eyes of her best friend, Carrie.<\/p>\n Fri. 21:15 | August 27<\/strong> | Tickets<\/a><\/strong><\/p>\n A screening with ten short films created to entertain the whole family!<\/p>\n Sat. 21:15 | August 28<\/strong> | Tickets<\/a><\/strong><\/p>\n Poly Styrene, from the English band X-Ray Spex, saw the Sex Pistols in 1976 and converted to punk rock. This film, directed by Paul Sng and the singer\u2019s daughter, Celeste Bell, portrays a musical icon who has become a key inspiration for the riot grrrl and Afropunk movements, having revolted against the racist, sexist and oppressive structures in England, at the end of the 20th century. The opposite of a clich\u00e9.<\/p>\n Sun. 21:15 | August 29<\/strong> | Tickets<\/a><\/strong><\/p>\n As mulheres da equipa feminina de v\u00f3lei japonesa que ganhou a medalha de ouro nos Jogos Ol\u00edmpicos de 1964, em T\u00f3quio, eram conhecidas como \u201cAs Bruxas do Oriente\u201d. Ainda hoje mant\u00eam um recorde de 258 vit\u00f3rias consecutivas. Agora, nos seus setenta anos, reencontram-se num passeio por mem\u00f3rias, com direito a sequ\u00eancia de anime<\/i> e um olhar brincalh\u00e3o, repleto de refer\u00eancias pop.<\/p>\n Wed. 21:15 | September 1<\/strong> | Tickets<\/a><\/strong><\/p>\n Rendang of Death<\/strong><\/em>, Percolate Galactic | anim., 2020, 7′ Thu. 21:15 | September 2<\/strong> | Tickets<\/a><\/strong><\/p>\n Anthological documentary that traces the impact of the music, performances and ideas by Brazilian singer Ney Matogrosso, from the second half of the twentieth century, through archival footage of his concerts and interviews over the decades.<\/p>\n Fri. 21:15 | September 3<\/strong> | Tickets<\/a><\/strong><\/p>\n \u201cWhat happened? \u2013 \u201cYou were just born\u201d. \u201cAnd where did I come from?\u201d \u2013 \u201cFrom an egg\u201d. \u201cAnd before that?\u201d \u2013 \u201cFrom a bird\u201d. \u201cAnd before that?\u201d Sat. 21:15 | September 4<\/strong> | Tickets<\/a><\/strong><\/p>\n A raw documentary about Delphine, a young Cameroonian woman who is carrying a suffering that has sprouted horns. Rosine Mbakam\u2019s camera keeps its eye on Delphine, without looking away or illustrating what she expresses. Cameroonian-born and Belgium-based, Mbakam and her cinema, which has focused on the migrant experience, explore themes such as the weight and dominance of patriarchal societies over African women and the Western culture\u2019s sexual, colonial exploitation.<\/p>\n
\nA film that illuminates the ways in which real investigations in virtual communities are carried out, such as on reddit or 4chan, exemplified by the events that followed the tragedy of the Boston Marathon in 2013, through the possibilities of crowdsourcing.<\/p>\n
\n<\/strong>Chlo\u00e9 Galibert-La\u00een\u00e9 analyzes Chris Kennedy\u2019s Watching the Detectives<\/i> and the content produced after the Boston attacks. At the same time, Galibert-La\u00een\u00e9 uses Structuralism, film editing and her academic language in her own investigation.<\/p>\n
\n<\/strong><\/p>\nTabu: A Story of the South Seas<\/a> | F.W. Murnau | Director’s Cut In Context<\/h2>\n
Blood<\/a> | Pedro Costa | Director’s Cut In Context<\/h2>\n
Silver River<\/a> | Raoul Walsh | Director’s In Context<\/h2>\n
Hopper\/Welles<\/a> | Orson Welles | Director’s Cut<\/h2>\n
\nTue. 21:30 | August 31 | Tickets<\/a><\/strong><\/p>\nThe Green Years<\/a> | Paulo Rocha | Director’s Cut In Context<\/h2>\n
Around Rocha’s Table<\/a> | Samuel Barbosa | Director’s Cut<\/h2>\n
Sarah Maldoror 4, 80′ | Retrospective<\/h2>\n
\nCap-Vert, un Carnaval dans le Sahel<\/strong><\/em><\/a>, Sarah Maldoror | doc., 1979, 28′
\nFogo, l’\u00eele de feu<\/strong><\/em><\/a>, Sarah Maldoror | 1979, 34′<\/p>\nSarah Maldoror 6, 83′ | Retrospective<\/h2>\n
\nVlady<\/strong><\/em><\/a>, Sarah Maldoror | doc., 1989, 24′<\/p>\n
\n<\/strong><\/p>\nLe Passager du Tassili<\/a> | Sarah Maldoror | Retrospective<\/h2>\n
\n<\/strong><\/p>\nSarah Maldoror 10 – Retratos de Artistas, 62′ | Retrospective<\/h2>\n
\nLa Tribu du Bois de L’\u00c9<\/em><\/strong><\/a>, Sarah Maldoror | doc., 1997, 12′
\nMir\u00f3<\/strong><\/em><\/a>, Sarah Maldoror | doc., 1979, 5′
\nWifredo Lam<\/a><\/strong><\/em>, Sarah Maldoror | doc., 1980, 4′
\nAlberto Carlisky<\/strong><\/em><\/a>, Sarah Maldoror | doc., 1980, 4′
\nVlady<\/a><\/strong><\/em>, Sarah Maldoror | doc., 1989, 24′<\/p>\nBiblioteca Pal\u00e1cio Galveias | Garden Screenings<\/h1>\n
Shiva Baby<\/a> | Emma Seligman | International Competition<\/h2>\n
Bad Luck Banging or Loony Porn<\/a> | Radu Jude | Silvestre<\/h2>\n
The Nowhere Inn<\/a> | Bill Benz | IndieMusic<\/h2>\n
Family Ties<\/a>, 53′ | (3+) Whole Family | IndieJ\u00fanior<\/h2>\n
Poly Styrene: I am a Clich\u00e9<\/a> | Celeste Bell, Paul Sng | IndieMusic<\/h2>\n
The Witches of the Orient<\/a> | Julien Faraut | International Competition<\/h2>\n
Mouth of Madness Shorts<\/a>, 93′ | Mouth of Madness<\/h2>\n
\nFlick<\/strong><\/em>, Ariel Zengotita | fic., 2020, 10′
\nA Stranger from the Past<\/strong><\/em>, Jan Verdijk | fic., 2020, 5′
\nThe Thing that Ate the Birds<\/strong><\/em>, Dan Gitsham\/Sophie Mair | fic., 2021, 12′
\nWood Child and Hidden Forest Mother<\/strong><\/em>, Stephen Irwin | anim., 2020, 9′
\nSurvivers<\/strong><\/em>, Carlos G\u00f3mez-Trigo | fic., 2020, 6′
\nT’es morte H\u00e9l\u00e8ne<\/strong><\/em>, Michiel Blanchart | fic., 2020, 24′
\nFlex<\/strong><\/em>, David Strindberg\/Josefin Malmen | fic., 2020, 4′
\nBobby <\/strong>Pinwheel,<\/strong><\/em> Rob Kleinschmidt | anim., 2020, 4′
\nMetube 3: August Sings “Une Furtiva Lagrima”<\/strong><\/em>, Daniel Moshel | fic., 2020, 10′<\/p>\nNey under the skin<\/a> | Felipe Nepomuceno | IndieMusic<\/h2>\n
Hello World!<\/a> | Anne-Lise Koehler, \u00c9ric Serre | 6+ | IndieJ\u00fanior<\/h2>\n
\nFor several brand new, just-hatched animals of different species \u2013 such as the owl, the turtle, the salamander or the beaver \u2013 the world is a fresh and mysterious place, with all its magic and danger, ready to be discovered.<\/p>\nDelphine’s Prayers<\/a> | Rosine Mbakam | International Competition<\/h2>\n