Chytilová was not allowed to direct films between 1969 and 1976. The sole exception was the made-for-TV film Kamarádi, now virtually unknown. The Doclisboa screening provides a rare opportunity to see this transitional work in Chytilová’s oeuvre.
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.
