Chytilová is intrigued by everything in life without exception. Paradise of the Heart, a modest philosophical essay, is closest in spirit to home movies, documenting as it does the filmmaker’s baby granddaughter’s attempts to make sense of the world around her.
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.