Scenes shot in China in 1966 during the most radical stage of the Cultural Revolution are set alongside archival images of the events of 1968 in France, Czechoslovakia, and Brazil. What can one say of Paris, Prague, Rio de Janeiro, or Beijing by looking at these images?
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.