Polo has been roaming around Ouagadougou since childhood. At 29, he is the eldest of a group who live from odd jobs and getting high. A harsh immersion in a reality as rough as the asphalt missing from the streets, the film is above all a view from the inside.
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.