In 1958, André Bazin started working on a film that was never made on the Romanesque churches of Saintonge. All that’s left are notes, photographs and a script stating the intention to “explain the unrivalled charm of these churches in Saintonge’s everyday life today”. Hébert reflected on the passage of time, ruins, restoration and Bazin’s death.
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.
