Director Gaspard Bazin is working on a new feature film and calls upon producer Jean Almereyda. His wife dreams of being a movie star. A perverse game ensues, with Almereyda wanting to please his wife, but reluctant to demand a role for her because of Bazin’s reputation as an incorrigible seducer.
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.