How does one find a cinematic form worthy of one of the most photogenic cities in the world? Chytilová’s distinctive, constantly moving camera and ever-unpredictable editing style surely come in handy.
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.