In her study, Maria Filomena Molder removes a small notebook with a thin, black and varnished cardboard cover from a bookshelf, right next to Goethe’s books and the clouds he drew. In that notebook, she copied Rimbaud’s letters by hand.
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.