Two stories, one documentary, the other fictive, unfold in parallel: the preparations of gymnast Eva Bosáková on the eve of her last World Championship (1962), and housewife Vera, who has dedicated her entire life to her family, being pushed over the edge.
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.
