Lonely residents of a tornado-stricken Ohio town wander the deserted landscape, trying to fulfil their nihilistic lives. “With Gummo, I wanted to invent a new film. I wanted to make a movie where nothing was done for any purpose other than that I wanted to see it. I wanted to make the first film that would hopefully play in malls in which you would see images with very little justification other than that these were things that I wanted to see.” (Harmony Korine)
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.
