A glimpse across vast territories, through the most varied artistic voices, in the most diverse times of\u00a0History and Cinema: this is the line that defines the programme of this year’s edition of Doclisboa.<\/p>\n
This\u00a0morning, at Culturgest, the press conference of Doclisboa’19 took place, in which the full programme of the 17th edition of the festival was presented, in the presence of C\u00edntia Gil<\/strong> (Direction – Doclisboa), Jos\u00e9 Ramalho<\/strong> (Directive Council – Culturgest), Manuel Veiga <\/strong>(Municipal Director of Culture – Lisbon Municipal Council) and Jos\u00e9 Manuel Costa<\/strong> (Director – Portuguese Cinemateca).<\/p>\n The programme this year has\u00a0303 films in its reach, 39 world premieres and 45 international premieres divided by competitive and non-competitive\u00a0sections: International Competition, National Competition, New Visions, From the Earth to the Moon, Heart Beat, Retrospective Jocelyne Saab, Retrospective The Rise and Fall of the Wall – The Cinema of East Germany, Cinema of Urgency, Green Years and Doc Alliance.<\/p>\n The International Competition<\/strong> has 14 films that come from 11 distinct\u00a0territories. Films with a singular glance over the world (and over cinema), with a formal and aesthetic\u00a0diversity allied to a positioning in the world that\u00a0the festival shares.\u00a0Lisa Reboulleau, Camille Degeye, Madeleine Hunt-Ehrlich, Sofia Brito, Manel Raga-Raga, Camila Rodrigues Triana, Jo Sefarty, Frank Beauvais, Christophe Bisson, Welket Bungu\u00e9, Thunska Pansittivorakul, Wook Steven Heo, Christian Haardt e Daniil Zinchenko<\/strong>\u00a0are the names that make this programme.<\/p>\n Doclisboa presents 44\u00a0Portuguese films in this year’s edition, from which 11 make up\u00a0the National Competition<\/strong>. In this competition, \u00a0Tiago Siopa, Pedro Filipe Marques, Saguenail, Jos\u00e9 Filipe Costa, Diana Vidrascu, Leonor Noivo, Atsushi Kuwayama, In\u00eas Gil, Miguel de Jesus, Nevena Desivojevic e\u00a0Lu\u00eds Br\u00e1s<\/strong>\u00a0present us with\u00a0gestures of freedom,\u00a0beyond\u00a0 At the press conference, it was also disclosed the programme of the section New Visions<\/strong>: a section in which the festival proposes the discussion of frontiers and boundaries with films from different times, that question cinema’s contemporaneity. This year, it is presented an homage to Barbara Hammer<\/strong>, by some of her closest friends, as well as the last films by Alain Cavalier <\/strong>and James Benning<\/strong>. The invited filmmakers of the section are\u00a0Ghassan Salhab<\/strong>\u00a0and\u00a0Sofia Bohdanowicz<\/strong> and, beyond all thematic programs, the festival brings singular films by young filmmakers:\u00a0Demons by\u00a0Daniel Hui<\/strong>, This Film Is About Me, by\u00a0Alexis Delgado B\u00fardalo<\/strong>, and\u00a0When the Persimmons Grew, by\u00a0Hilal Baydarov<\/strong>. The festival will have the\u00a0Portuguese premiere of\u00a0Danses macabres, squelettes et autres fantaisies, by\u00a0Rita Azevedo Gomes<\/strong>\u00a0and\u00a0Pierre L\u00e9on<\/strong>, in a section which will, also, summon\u00a0the voice of\u00a0Antonin Artaud<\/strong>, in his radiophonic performance in 1947.<\/p>\n One of the news of this year’s edition is the creation of\u00a0Nebulae<\/strong>: a networking space at Doclisboa that encompasses a group of\u00a0directional activities for industry. At\u00a0Nebulae<\/strong>,\u00a0formerly developed\u00a0activities\u00a0in past editions of Doclisboa,\u00a0are compiled\u00a0in a single programming space, such as\u00a0Arch\u00e9<\/strong> -, as well as new activities – masterclasses, tutorship, criticism\u00a0and investigative residencies, workshops and\u00a0meetings -, with the goal of stimulating the\u00a0meeting of people and dedicated entities to the\u00a0development of creation, production and promotion of independent cinema.<\/p>\n Doclisboa also presents two new\u00a0development in the branch of the awarded prizes to winning films: in the National Competition, the Prize Fernando Lopes for Best First\u00a0Portuguese Film (Midas Filmes and Doclisboa) and, in the section Green Years, the Prize Pedro Fortes for Best Directing Green\u00a0Years.<\/p>\n The Prize Fernando Lopes for Best Portuguese First\u00a0Film<\/strong>, attributed by Midas Filmes and Doclisboa, has as its motto of inspiration the spirit of filmmaker Fernando Lopes, one of the great names of\u00a0Portuguese cinema of the 60s, with his strong connection to the world of documental\u00a0cinema, his strong influence in the same and his attention, his connection to new cineastes. This\u00a0Prize will have as its jury Alice Milheiro (Adjunct Director\u00a0of RTP, that started working at RTP\u00a0having had the filmmaker as her first director), Margarida Cardoso (filmmaker whose path Fernando Lopes has\u00a0always kept track of) and Sofia Lopes Machaqueiro (oldest\u00a0granddaughter of the cineaste\u00a0and founder of Alvalade Cine Club).<\/p>\n The Prize Pedro Fortes for Best Directing Green Years<\/strong>, that attributes a Participating Scholarship at Doc’s Kingdom Seminar,<\/strong> was created as a tribute to this\u00a0colleague, to this friend of the festival, that\u00a0passed away this year. His influence has affected not only the festival, but all its team and the present edition of\u00a0Doclisboa is dedicated to his memory.<\/p>\n The festival’s programme<\/strong> is now\u00a0available in the oficial website, and tickets are now for sale<\/strong>.<\/p>\n From 17 to 27 of October<\/strong>, the whole world fits in Lisbon.<\/p>\n","protected":false},"excerpt":{"rendered":" A glimpse across vast territories, through the most varied artistic voices, in the most diverse times of\u00a0History and Cinema: this is the line that defines the programme of this year’s edition of Doclisboa. This\u00a0morning, at Culturgest, the press conference of Doclisboa’19 took place, in which the full programme of the 17th edition of the festival …<\/a><\/p>\n","protected":false},"author":2,"featured_media":502662,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"_links":{"self":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts\/502664"}],"collection":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/comments?post=502664"}],"version-history":[{"count":0,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts\/502664\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/media\/502662"}],"wp:attachment":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/media?parent=502664"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/categories?post=502664"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/tags?post=502664"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}