Troja is an upscale neighborhood in Prague, where Chytilová resided for almost 30 years. The film is her attempt to apprehend this inimitable genius loci, interweaving original footage, paintings, scenes from other movies, and the locals’ reminiscences.
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.