Thirty years after his death, Beuys still seems to be a visionary. His expanded concept of art leads him smack in the middle of socially relevant discourse. Beuys is not a portrait in the common sense but an intimate look at a human being, his art, and his world of ideas.
Doclisboa wants to question the present of film, bringing along its history and assuming cinema as a mode of freedom. By refusing the categorization of film practice, it searches for the new problematics that cinematic image implies, in its multiple ways of engagement with the contemporary.
Doclisboa tries to be a place to imagine reality through new modes of perception, reflection, and possible new forms of action.
