From Galizia to the roads of Portugal: the 17th edition of Doclisboa, that will be held between October 17-27, will open with Eloy Enciso’s Endless Night and will close with the preview of Technoboss, directed by João Nicolau (which premieres in national theatres on November 7).
After being a part of Doclisboa’s 2012 International Competition, with Arraianos, and in addition to being a part of the festival’s jury in 2015 and 2017, Eloy Enciso returns to Doclisboa with Endless Night: a film that premiered in Locarno’s International Competition, that was recently screened in TIFF, and that has already been announced for this year’s Viennale and New York Film Festival. Endless Night, Doclisboa’s opening film, follows the return of Anxo (played by Misha Bies Golas) to his hometown, in the midst of the Galician countryside. Echos of voices and memories, thoughts, encounters and casual conversations walk side by side with Anxo, in a path marked by the weight of nocturnal darkness (and, perhaps, by the weight of history). A film inspired by letters, plays and memoirs from the Franco regime, that drives us towards a crucial reflection upon the post-civil war Spanish society and, most importantly, a reflection upon contemporary society: a cinematic journey, an exploration of the social and political foundations of fascism.
Technoboss, directed by João Nicolau, will close the Doclisboa’s 17th edition, after premiering in Locarno’s International Competion and prior to its Portuguese premiere. The film portrays Luís Rovisco (played by Miguel Lobo Antunes), a divorced man, well into his sixties, that is close to retirement from his job as a commercial director in Segurvale – Integrated Systems of Access Control, and that finds himself in Hotel Almadrava, where he reconnects with an old flame: Lucinda (played by Luísa Cruz). A moment that triggers a drastic change in Luís Rovisco’s life, which we follow in this film where musical and road-movie genres intertwine, where the line that separates fiction from reality (in this fictional portrait) becomes exponentially tenuous: a drama, a(n almost) tragic comedy, with João Nicolau’s cinematic touch.