A character portrait of “musicians’ musician” and anti-archetypal guitar hero, Bill Frisell. This film traces the development of Frisell’s music and provides rare insight into the shaping of one of the significant musicians of recent decades.
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.
