The daily life of refugees (Syrian, Kurdish, Pakistani, Afghani, and other) in the camp of Idomeni, waiting to cross the border between Greece and Macedonia. One day, Europe closes its borders for them once and for all, and they decide to occupy the train tracks.
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.
