We are only one month away from the opening of this edition of IndieLisboa. The perfect time to unveil the programme of two of the most awaited sections of the festival \u2013 the International Competition and Silvestre. Films from different geographies and contexts, with different themes and aesthetic approaches, but universal in the way they use cinema as an eminently political tool, of confrontation and restlessness.<\/p>\n
We start with the first works of the International Competition. We highlight Pedro<\/strong>, by Natesh Hedge, a solid film about the difficulty in escaping the strictness of tradition in a small Indian village. Pedro is a middle-aged electrician who lives with his mother and his brother’s family in the remote forests of the Western Ghats. One monsoon night he accidentally kills a cow that belonged to his landlord. The village, unable to accept a man who has committed such a shameful act, responds coldly to Pedro’s presence.<\/p>\n In Freda<\/strong>, the debut film by the Haitian director Gessica G\u00e9n\u00e9us, the eponymous protagonist lives with her family in a poor neighborhood of Port-au-Prince. They make a living from their small street shop. Faced with precarious living conditions and increasing violence in Haiti, each of them wonders whether to stay or leave, but Freda wants to believe in her country’s future.<\/p>\n Kiro Russo, a repeater at the festival \u2013 and winner of the IndieLisboa 2017 Feature Film Grand Prize City of Lisbon with Viejo Calavera<\/strong> \u2013 returns to Lisbon with El Gran Movimiento<\/strong>. Its premise evokes yet another clash between tradition and modernity \u2013 in today’s Bolivia, Elder and his fellow miners arrive in La Paz to demand their reinstatement. Suddenly, Elder starts to feel sick. With the help of old Mam\u00e1 Pancha, Elder and his friends find work in the market. But Elder’s condition gets worse, and he is having trouble breathing. Mam\u00e1 Pancha sends him to Max, a healer, hermit and clown, who may be able to bring the young man back to life.<\/p>\n Speaking of healing, How to Save a Dead Friend<\/strong> uses the ghostly quality of cinema to reclaim the life of someone who has already departed. A beautiful documentary by Marusya Syroechkovskaya about what unites two people, even after death.<\/p>\n Taking a look at the short films, in\u00a0Escasso<\/strong>, Clara Anast\u00e1cia and Gabriela Gaia Meirelles use the mockumentary aesthetic to criticise the huge discrepancies in Brazilian society; and\u00a0Handbook<\/strong>, by Pavel Mozhar, recreates, in Mozhar’s own room and based on reports, from reports, the repression that Belarusian protesters suffered in 2020, when Lukashenko’s suspicious re-election took place. The generational differences between a mother and her son, and the heritage of emigration are the main themes of Mistida<\/strong>, by Portuguese-Guinean Falc\u00e3o Nhaga, while Urban Solutions<\/strong> deals with the Brazilian past and present, seen through the experience of a doorman in an apartment building who reassesses the relationship with his employers. The film, directed by Arne Hector, Luciana Mazeto, Vin\u00edcius Lopes and Minze Tummescheit, creates a stark opposition between idyllic backyards and the oppressive presence of surveillance cameras.<\/p>\n In the competitive section Silvestre, we select films that take risks in new cinematographic languages, in a mix of established authors and emerging talents. We highlight three. From Vietnam, directed by Pedro Rom\u00e1n and Mai Huy\u1ec1n Chi, The Girl from Dak Lak<\/strong>,\u00a0a minimalist and naturalistic film that follows the young S\u01b0\u01a1ng and her migration to Saigon. She gets to know a small restaurant where she is offered a job, and ends up working and living alongside two other migrant women. The three spend their days together. Within the barren walls of the restaurant, their mornings are filled with repetitive tasks, and the rest of the day with empty and boring hours.<\/p>\n Modern slavery is the central theme of Convenience Store<\/strong>, Michael Borodin’s first work. Mukhabbat is an Uzbek woman who has emigrated to Moscow to work in a convenience store. In the Russian capital, the young woman lives as a slave and struggles to regain her freedom while a system of socio-economic discrimination ignores and despises her.<\/p>\n The documentary Nous, \u00c9tudiants!<\/strong>, by Rafiki Fariala, follows a group of friends, students of economics, at the University of Bangui. Navigating between overcrowded auditoriums, frivolous flirts and the petty bargaining that allows students to survive, Rafiki shows us the lives of students in the Central African Republic.<\/p>\n In the same section, but out of competition, three important names in contemporary European cinema: Bertrand Bonello with Coma<\/strong>, a hybrid of live-action and animation filmed in the middle of the pandemic; Quentin Dupieux, who returns to the festival eleven years after his first time here with the bizarre humour of Rubber<\/strong>, with the comedy Incroyable Mais Vrai<\/strong>; Jean-Gabriel P\u00e9riot, another frequent name at festival, with Retour \u00e0 Reims (Fragments)<\/strong> in which he documents the history of the French proletariat from the 1950s until the present.<\/p>\n From fiction to documentary, animation to experimental cinema, the programme of short films brings us up to date with the trajectory of some of the fundamental names in contemporary cinema and in the history of the festival: the comedy By Fl\u00e1vio<\/strong>, by Pedro Cabeleira, At least I’ve been outside<\/strong>, by Jan Soldat (Foco Silvestre in the 2015 edition of IndieLisboa), El sembrador de estrellas<\/strong>, by Lois Pati\u00f1o (regular presence at IndieLisboa since 2014), How Do You Measure A Year?<\/strong>, by Jay Rosenblatt (independent hero in the 2006 edition) and Bird in the Peninsula<\/strong>, by Atsushi Wada, winner of an honourable mention in 2012, for the allegorical animation The Great Rabbit<\/strong>.<\/p>\n Light Cone<\/em>‘s focus delves into into the vast catalog of this mythical institution of experimental cinema, with four thematic programs. Netsploitation<\/strong>, Comfort<\/strong>, Intimacies<\/strong>, and Eroticism and Suggestion<\/strong>. Here, the narrative and aesthetic modes of the internet throughout the first two decades of the 21st century are questioned\u00a0as well as the induction of sexual feelings from a work of art, through suggestion, symbolism or allusion, in a kind of journey of images that form bodies where sensations, lurk and throb. Light Cone<\/em>‘s lens covers decades of experimental cinema and brings together filmmakers such as Maya Deren, John Smith, Michael Brynntrup, Neozoon, Peggy Ahwesh, Nazli Dincel and Barbara Hammer, among many others.<\/p>\n The 19th edition of IndieLisboa will take place between Cinema S\u00e3o Jorge, Culturgest, Cinemateca, Cinema Ideal and Biblioteca Pal\u00e1cio Galveias, from April 18th to May 8th. The complete programme, as well as the schedule of sessions and ticket sales, will be available from the beginning of April.<\/p>\n Freda<\/strong><\/i>, Gessica G\u00e9n\u00e9us Are We There Yet,\u00a0<\/strong><\/i>Lazar Ivanov 1970<\/strong>, Tomasz Wolski At Least I’ve Been Outside<\/strong><\/i>,\u00a0Jan Soldat Coma<\/strong><\/i>, Bertrand Bonello We are only one month away from the opening of this edition of IndieLisboa. The perfect time to unveil the programme of two of the most awaited sections of the festival \u2013 the International Competition and Silvestre. Films from different geographies and contexts, with different themes and aesthetic approaches, but universal in the way they […]<\/p>\n","protected":false},"author":3,"featured_media":10194,"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":[57,63],"tags":[],"class_list":["post-10526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10526","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=10526"}],"version-history":[{"count":0,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/10526\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media\/10194"}],"wp:attachment":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media?parent=10526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/categories?post=10526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/tags?post=10526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nInternational Competition – Feature Films<\/strong><\/h3>\n
\nGhost Song<\/strong><\/i>, Nicolas Peduzzi
\nEl Gran Movimiento<\/strong><\/i>, Kiro Russo
\nHow to Save a Dead Friend<\/strong><\/i>, Marusya Syroechkovskaya
\nKim Min-Young of the Report Card<\/strong><\/i>, Lee Jae-eun and Lim Jisun
\nMato Seco em Chamas<\/strong><\/i>, Adirley Queir\u00f3s and Joana Pimenta
\nMedusa<\/strong><\/i>, Anita Rocha da Silveira
\nPedro<\/strong><\/i>,\u00a0Natesh Hegde
\nProyecto Fantasma<\/strong><\/i>, Roberto Doveris
\nSoy Libre<\/strong><\/i>, Laure Portier
\nUnrueh<\/strong><\/i>, Cyril Sch\u00e4ublin<\/p>\nInternational Competition – Short Films<\/strong><\/h3>\n
\nAu revoir J\u00e9r\u00f4me!<\/strong><\/i>, Gabrielle Selnet, Adam Sillard and Chlo\u00e9 Farr
\nLe Boug Doug<\/strong><\/i>, Th\u00e9o Jollet
\nCan Gardell<\/strong><\/i>, Florencia Aliberti and Silvia Subir\u00f3s
\nEl Dia Que Volaron la Monta\u00f1a<\/strong><\/i>, Alba Bresol\u00ed
\nDisplaced<\/strong><\/i>, Samir Karahoda
\nDog’s Field<\/strong><\/i>, Michalina Musialik
\nEscasso<\/strong><\/i>, Clara Anast\u00e1cia and Gabriela Gaia Meirelles
\nFantasma Neon<\/strong><\/i>, Leonardo Martinelli
\nFive Minutes Older<\/strong><\/i>, Sara Szymanska
\nHandbook<\/strong><\/i>, Pavel Mozhar
\nHandstand<\/strong><\/i>, Ovsanna Shekoyan
\nHave a Nice Day Forever<\/strong>,<\/i>\u00a0Tatiana Delaunay
\nHierophany<\/strong><\/i>, Maria Nitek
\nI’m Trying To Remember,<\/strong><\/i>\u00a0Pegah Ahangarani
\nIntermezzo<\/strong><\/i>, Kim L\u00eaa Sakkal
\nJeudi, Vendredi, Samedi<\/strong><\/i>, Arthur Cahn
\nLucienne Dans un Monde Sans Solitude<\/strong><\/i>, Geordy Couturiau
\nMistida<\/strong><\/i>, Falc\u00e3o Nhaga
\nNorth Pole<\/strong><\/i>, Marija Apcevska
\nThe Parents’ Room<\/strong><\/i>, Diego Marcon
\nPrecautionary Measure<\/strong><\/i>, Lizzy Deacon and Ika Schwander
\nSierra<\/strong><\/i>, Sander Joon
\nSome Kind of Intimacy<\/strong><\/i>, Toby Bull
\nStarfuckers<\/strong><\/i>, Antonio Marziale
\nSteakhouse<\/strong><\/i>, \u0160pela \u010cade\u017e
\nUn Mois Apr\u00e8s la Nuit<\/strong><\/i>, H\u00e9lo\u00efse Fressoz
\nUpwards Tide<\/strong><\/i>, Daniela Zahlner
\nUrban Solutions<\/strong><\/i>, Arne Hector, Minze Tummescheit, Luciana Mazeto and Vin\u00edcius Lopes
\nThe Watchers<\/strong><\/i>, Sandro Souladze<\/p>\nSilvestre – Feature Films<\/strong><\/h3>\n
\nCamouflage<\/strong><\/i>, Jonathan Perel
\nCette Maison<\/strong><\/i>, Miryam Charles
\nConvenience Store<\/strong><\/i>,\u00a0<\/strong>Michael Borodin
\nLxs Desobedientes<\/strong><\/i>, Nadir Medina
\nDetours<\/strong><\/i>, Ekaterina Selenkina
\nThe Girl from Dak Lak<\/strong><\/i>, Pedro Rom\u00e1n and Mai Huy\u1ec1n Chi
\nNous, \u00c9tudiants!<\/strong><\/i>, Rafiki Fariala
\nSaving One Who Was Dead<\/strong><\/i>, Vaclav Kadrnka
\nSonne<\/strong><\/i>, Kurdwin Ayub
\nRed Africa<\/strong><\/i>, Alexander Markov<\/p>\nSilvestre – Short Films<\/strong><\/h3>\n
\nBird in the Peninsula<\/i><\/strong>, Atsushi Wada
\nBy Flavio<\/i><\/strong>, Pedro Cabeleira
\nChurchill, Polar Bear Town<\/i><\/strong>, Annabelle Amoros
\nConstant<\/i><\/strong>, Beny Wagner and Sasha Litvintseva
\nCucumbers<\/i><\/strong>, Leonid Shmelkov
\nGlass Life<\/i><\/strong>, Sara Cwynar
\nHow Do You Measure A Year?<\/i><\/strong>, Jay Rosenblatt
\nLizuna Fair<\/i><\/strong>,\u00a0<\/i>Sumito Sakakibara
\nMasks<\/strong>, Olivier Smolders
\nNosferasta: First Bite<\/i><\/strong>,<\/i>\u00a0Adam Khalil and Bayley Sweitzer
\nPenalty Shot<\/i><\/strong>, Rok Bi\u010dek
\nPunctured Sky<\/i><\/strong>, Jon Rafman
\nSekundenarbeiten<\/i><\/strong>, Christiana Perschon
\nEl Sembrador de Estrellas<\/i><\/strong>, Lois Pati\u00f1o
\nSideral<\/strong><\/i>, Carlos Segundo
\nTriforium<\/strong><\/i>, Jayne Parker
\nUne Embuscade en Suspens<\/strong><\/i>, Simon Queheillard
\nWill My Parents Come to See Me<\/strong><\/i>, Mo Harawe<\/i><\/i><\/i><\/i><\/i><\/p>\nSilvestre – Out of Competition<\/strong><\/h3>\n
\nIncroyable Mais Vrai<\/strong><\/i>, Quentin Dupieux
\nRetour \u00e0 Reims (Fragments)<\/strong><\/i>, Jean-Gabriel P\u00e9riot<\/p>\n","protected":false},"excerpt":{"rendered":"