“Rio do Ouro and Água-Izé were among the largest cocoa plantations in São Tomé and Príncipe during the Portuguese colonial era. Thousands were marked by forced labour equivalent to slavery. I return to my country to find the traces of that past.” Silas Tiny
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.