Alabama, 1946. The director’s great-grandfather murders Bill Spann, a black man. When Wilkerson sets out to unravel the mystery, he encounters obstacle upon obstacle, and everyone refusing to talk. He’s accused of shaming the family and gets death threats.
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.
