Arquivo da Categoria: 2023

Khalil

COMEÇAR A OLHAR
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QUI 9 NOV • 17H00 | CINEMA SÃO JORGE • SALA 3

Sarah Safieddine
Líbano Fic 2022 18’

Depois de salvar um peixe, Khalil tenta guardá-lo em casa num local seguro, à revelia do pai. Khalil e a mãe são vítimas de violência doméstica, o que faz do peixe a sua única saída. Conseguirá ele salvá-lo?

After Khalil saves a fish, he tries to find a safe spot for it in his house whilst hiding it from his father. Khalil and his mother are victims of domestic violence, which makes the fish his only escape. Will he manage to save it?

Argumento Screenplay Sarah Safieddine
Produção Production Nadia Ahmad/ Sara Safieddine/ Ghada Kassir
Fotografia Cinematography Hussein Zbib
Montagem Editing Sarah Safieddine
Música Music Jack Berro/ Fady Sabra
Direcção de Arte Art Design Kawthar Bazzoun
Design de Som Sound Design Hasan Hariri
Com With Ali Sleiman/ Georgina Eid/ Shadi Shamas
Escola School LOYAC LEBANON filmcamp

Estreia Europeia  European Première

Prémios Awards
Prémio Promoting Peace in World of Women Film Fair Middle East, Emiratos Árabes Unidos
Festivais Festivals
Lebanese FF, Austrália || Líbano Beirut Intl Woman FF | Tripoli FF | Cinema for Peace Festival

Nota da Realizadora Director’s Statement

In april 13, 2011 Latifa Kassir was murdered by her husband. Her body was discovered by her 2 children. Jana, 9 years old, and Khalil 6 years old after coming home from school. For me, this story has always haunted my life, especially that Latifa was my aunt. I’ve seen her children grow up, and I lived with them. After the murder, Khalil kept asking about a fish he left in that house, always wondering whether it might still be alive if he returned. In the funeral, Khalil didn’t cry, neither did Jana; and this drew my attention. I wondered what all of this actually meant for them. Knowing that, I felt that a scenario should be written about this story. And since there are numerous films, movies, and documentaries showing the lives of oppressed women, I felt like it’s time to show the life of Khalil, the child who had to live such a reality. As a result, “Khalil” a fiction scenario, adapted from a true story, about this child and his fish.

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Mansa

COMEÇAR A OLHAR
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QUI 9 NOV • 17H00 | CINEMA SÃO JORGE • SALA 3

MEEK
Mariana Bártolo

Portugal, Alemanha Fic 2021 22’

Portugal, ano 2000. Maria João, 11 anos, vive num subúrbio conservador do Norte de Portugal, exposta à forte doutrina da sua educação. Em plena pré-adolescência, testemunha mudanças na sua percepção da realidade, e na relação com a família e  com a sua melhor amiga Ana. O emergir da sensualidade e do desejo despertam-na para novas sensações corporais e afectivas.
 

Eleven-year-old Maria João lives in a suburb in the north of Portugal in 2000. She is exposed to the influences of her conservative upbringing. Her relationship with her family and her best friend are changing. A newly discovered sensuality and desire lead her to new body sensations and interests.

Argumento Screenplay Mariana Bártolo
Produção Production KHM, Mariana Bártolo
Fotografia Cinematography Carmen Rivadeneira
Montagem Editing Mariana Bártolo
Música Music António Duarte
Direcção de Arte Art Design Djanira Bravo
Design de Som Sound Design Francisca Dores
Com With Filipa Gonçalves, Morgana Moutinho, Daniel Silva, Diana Sá, Pedro Frias
Distribuidor Distributor Mariana Bártolo
Escola School KHM

Prémios Awards
National Grand Prix, FEST – New Directors/New FF, Portugal | Melhor Filme “In My Shorts” Competition, Queer Porto, Portugal
Festivais Festivals
Alemanha Intl Short FF Oberhausen | Filmfestival Max Ophüls Preis | Trinationales Filmfestival, Hochschule Offenburg | Sehsüchte Intl Student FF | Future Festival Rollenspiele | Filmforum NRW || Huesca IFF, Espanha | Intl Short Film Contest Palm Springs Shortfest, EUA | Caminhos do Cinema Português, Portugal | Porto Femme FF, Portugal

WEBSITE PRESSKIT

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Natan

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QUI 9 NOV • 17H00 | CINEMA SÃO JORGE • SALA 3
COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT

Cátia Alpedrinha e Catarina Eduardo
Portugal Doc 2022 8’

Após cinco anos de voluntariado missionário, Natan vive hoje em Lisboa, sob a protecção da sua fé. Optou por se abstrair de si mesmo e se dedicar a promover e a contribuir para a inclusão social dos outros, para ignorar a exclusão de que é vítima.

After five years of missionary volunteering, Natan now lives in Lisbon, under the protection of his faith_. He chose to abstract himself from himself and dedicate his life to helping and contributing to the social inclusion of others, in order to ignore the exclusion he is a victim of.

Argumento Screenplay Catia Alpedrinha e Catarina Eduardo
Produção Production Ruben Martins e Teresa Baptista
Fotografia Cinematography António Freitas
Montagem Editing Gonçalo Ruivo e Guilherme Melo
Música Music Several Noise e Ray
Direcção de Arte Art Design António Freitas
Design de Som Sound Design Gonçalo Ruivo e Guilherme Melo
Com With Natan de Lima Santos
Distribuidor Distributor ETIC
Escola School ETIC

Festivais Festivals
Encontros de Viana e Prémios Sophia Estudante

Nota das Realizadoras Directosr’ Statement
Inclusion is a process carried out by two parties, the subject and society, or environment, where the same if you want to include. But this inclusion must be given with respect for the individuality, and should serve as an antidote to gender inequality and social. We propose to work the issue of inclusion through the exclusion of a real character: Nathan. It is a story of a contrasting nature in itself: someone who fought for inclusion of possibly hundreds of people, while feeling, at the same time, abandoned by society. This is also a story that addresses several dimensions of inclusion, always focused on the same person, who will be worked on from three aspects of the character: being a foreigner, homosexual and cross-dressing. The film is composed of current images, mostly performative, with references photographs of Nathan’s past and life journey, as well as a narration in first person and ambient sounds and soundtrack that intensify each act in a distinct.

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Once Again

10º Edição – OLHARES DO MEDITERRÂNEO 2023
MELHOR CURTA BEST SHORT COMPETIÇÃO COMEÇAR A OLHAR SCHOOL FILM COMPETITION
OUÇA AQUI LISTEN TO GIULIA DI MAGGIO

COMEÇAR A OLHAR
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SÁB 11 NOV • 19H00 | CINEMA SÃO JORGE • SALA 3
COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT

UNA VOLTA ANCORA
Giulia Di Maggio

Itália Doc 2022 17’

Uma viagem pitoresca pela sucessão de estações numa praia siciliana, desde os Invernos desertos às coloridas multidões do Verão. Na ausência de palavras, temos apenas o som de três existências inusitadas: a vida dura de uma cabana de praia, o olhar atento de uma câmara de vigilância e a tenacidade de uma velha imprudente. Uma carta de amor a um lugar que nos convida a ter outro olhar sobre o mundo.

A picturesque journey through the changing seasons on a Sicilian beach, from its desert Winters to its colourful Summer crowds. No words, just the sound of three unusual existences: the hard life of a beach cabin, the careful eye of a surveillance camera, and the tenacity of a reckless old woman. A love letter to a place, inviting us to change the point of view with which we look at the world.

Argumento Screenplay Giulia Di Maggio
Produção Production Centro Sperimentale di Cinematografia
Fotografia Cinematography Giulia Di Maggio
Montagem Editing Giulia Di Maggio
Música Music Luca Rizzo
Direcção de Arte Art Design Giulia Di Maggio
Design de Som Sound Design Giulia Di Maggio | Danilo Romancino
Com With Maria Raitano
Distribuidor Distributor Giulia Di Maggio
Escola School Centro Sperimentale di Cinematografia

Estreia Nacional Portuguese Première

Prémios Awards
Itália New Talents Award, Visioni Dal Mondo, Milano | Prémio Competição Nacional, Lago FF | Menção Honrosa, Siciliambiente, S Vito Lo Capo | Melhor Documentário, Paradiso FF, Palazzo Adriano | Melhor Filme, Festa del Cinema Pirata, San Benedetto del Tronto | Melhor Realização, Torino Contemporanea | Menção  Honrosa, Fano FF | Quartos de Final, Student World Impact FF
Estreia internacional em Vision du Réel, Nyon, Suíça
Festivais Festivals
Evolution Mallorca, Espanha | Poitiers FF, França || Itália Visioni Italiane, Bologna | Documentaria, Palermo | Soleluna, Palermo | Effetto Notte, Rome | Pianeta Mare FF, Napoli | Front Doc, Aosta || AFFR, Rotterdam, Países Baixos | Spektrum FF, Polónia

Nota da Realizadora Director’s Statement
Once again is a visual story, an immersive experience, in which words are not important. It is a voyage to do by holding your breath, letting the eyes, as the mind, free to explore the worlds that a beach contains. The film is set in a sicilian beach, but it could be any other beach in the world: what matters is that this place is in a permanent transformation, following an eterne cycling motion. Winter and then summer, and again winter and so on. In this story, which is by nature anti-narrative, people, as objects and animals, are on a level of equal importance, just inhabitants of a space: he is the main character. A space that is crossed, observed, excavated, leveled, delimited and then freed. A multifaceted place that welcomes and only rarely rejects. The camera moves with irony and curiosity, always changing its point of view. After sketching the microcosm on the sand, she flies into the sky to observe the macrocosm from above, and after the long winter it doesn’t hesitate to dive into the water to observe bodies swimming above her. This short movie is a love letter to Palermo’s beach: my attempt to recover the curious and loving gaze that I had when I observed this beach as a child.

A exibição deste filme teve o apoio do Istituto Italiano di Cultura | The exhibition of this film has had the support of the Istituto Italiano di Cultura

 

 

 

 

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The Artichoke Season

COMEÇAR A OLHAR
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QUI 9 NOV • 17H00 | CINEMA SÃO JORGE • SALA 3

LA SAISON DES ARTICHAUTS
Orna Rottenberg

Israel Fic 2022 9’

Memórias da infância de Rosalie, de 10 anos, quando o seu pai sai de casa. Enquanto Rosalie se refugia nas árvores de borracha das ilhas Galápagos, a mãe tenta preservar o delicado ideal de uma família. Ambas agarradas à esperança, mergulhando na fantasia, onde o escapismo é a cura.

Childhood memories of 10-year-old Rosalie when her father leaves their home. While Rosalie escapes to rubber trees in the Galapagos islands, her mother tries to preserve the delicate ideal of a family. Both are clinging to hope and plunging into fantasy where escapism is the cure.

Argumento Screenplay Orna Rottenberg
Produção Production Orna Rottenberg
Fotografia Cinematography Orna Rottenberg, Boris Haimov, Ido Chen
Montagem Editing Orna Rottenberg, Ido Chen
Música Music Omer Hershman
Direcção de Arte Art Design Orna Rottenberg
Design de Som Sound Design Keren Or Bitton
Com With Sol Zimberoff, Michal Amit, Amir Frenkel, Liad Zucker
Distribuidor Distributor Costanza Film Distribution
Escola School Bezalel Academy of Art and Design Jerusalem

Estreia Nacional Portuguese Première

Prémios Awards
Selecção oficial Tribeca FF, NY, EUA
Festivais Festivals
Brussels Mediterranean FF, Bélgica || EUA Tribeca FF, NY | Boston Jewish FF | Palm Beach Jewish FF | San Francisco Jewish FF | San Diego Jewish Short FF | San Diego FF || Short Encounters IFF, Thessaloniki, Grécia | Intl Documentary & Short FF of Kerala, Índia | SorsiCorti Short FF, Palermo, Itália | UK Jewish FF, Reino Unido

WEBSITE PRESSKIT

Nota da Realizadora Director’s Statement
The film is based on the childhood memories of the director, when her parents got divorced and she had to move with her mother from peaceful Switzerland to a poor suburb of Tel Aviv, Israel.

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The Sun Sets On Beirut

10º Edição – OLHARES DO MEDITERRÂNEO 2023
MENÇÃO HONROSA HONORABLE MENTION COMPETIÇÃO COMEÇAR A OLHAR SCHOOL FILM COMPETITION
OUÇA AQUI LISTEN TO DANIELA STEPHAN

COMEÇAR A OLHAR
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DOM 12 NOV • 14H00 | CINEMA SÃO JORGE • SALA 3

Daniela Stephan
Reino Unido, Líbano Fic 2022 17’

Mounia, uma jovem de 20 e tal anos, procura o seu gato numa cidade agora destruída, Beirute. Acompanhada pelo seu melhor amigo Ghady, que está mais interessado em namoriscar uma jornalista britânica, embarca numa jornada para descobrir o que lhe foi tirado.

Mounia, a girl in her 20s, is looking for her cat in a now-destroyed city, Beirut. Accompanied by her best friend Ghady, who is more interested in flirting with a British journalist, she embarks on a journey to find what has been taken from her.

Argumento Screenplay Daniela Stephan
Produção Production Kassey Song and Fayez Abou Khater
Fotografia Cinematography Fatma Rasha Shehadeh
Montagem Editing Daniela Stephan
Música Music Hayat Selim
Direcção de Arte Art Design Rania Habbouchi
Design de Som Sound Design Tony Elk
Com With Marilyne Naaman, Pio Chihane, Jo McGarry, Salma Chalaby
Escola School London Film School

Estreia Nacional  Portuguese Première

Prémios Awards
Grand Prix, Les Nuits Med, U Filmu Cortu, Córsega, França | Prémio do Público, Menção Honrosa, Beirut Intl Women FF, Líbano
Festivais Festivals
InterFilm Berlin, Alemanha | Lebanese FF, Canadá | Flickers’ Rhode Island IFF, EUA

INSTAGRAM PRESSKIT

Nota da Realizadora Director’s Statement
On the 4th of August 2020 a part of me died, as a person and as a director. The strongest ever non-nuclear bomb exploded in the heart of Beirut, leaving millions homeless, 400 people dead, and thousands injured. The socio-political climate has been charged with so much corruption and uncertainty that somehow the 4th of August blast didn’t feel like a surprise. It felt like a moment that for so many years, we were all, anxiously, anticipating. I had written a completely different script for my graduation film for the London Film School. A story about a group of 16 year old friends, roaming in the streets of Beirut on a school day during a riot. A story I cared deeply about, shedding light on the lost generation of after-war Beirut, an almost anarchic city. A portrait of Beirut and its youth. Then, all of sudden while wrapping up the final script the Beirut Blast happened: my locations were all in rubbles, I didn’t have a film, no more city, and my cat was lost. What is the purpose of making a film in the face of such tragedy? I found myself feeling guilty searching for my cat knowing that others had lost so much more. I didn’t want to make a film anymore and questioned the medium itself. Then after a couple of months I started writing again and somehow, convinced myself that even if cinema wasn’t here to drastically change anything, it is nonetheless a medium of questions, and community and… I had to survive. So I made “The Sun Sets On Beirut”. We didn’t want any fancy equipment, as we felt it would be more appropriate to shoot with what we had. It felt wrong to use our budget on fancy cameras when the world we were in had collapsed. We decided to use the budget we had for actors, crew, locations and post-production while leaving the appropriate amount for camera and lights. We went back to the core of storytelling. A docu-fiction style that would permit us to emancipate ourselves as filmmakers from this reality and at the same time portray it. The documentary inspired style al- lowed us to quickly get an emotional connection to the character and thus was a pivotal style choice, because we are able to see Mounia as a real person, highlighting her emotional struggle and inner conflict. Identity, belonging and loss are at the core of what I needed to transmit on images. I have not lived through the war, I had felt it through my everyday life and relationships. The 4th of August brought all of these feelings to the surface. I didn’t want to make a film “about a tragedy” but about the universality of the emotions felt during this period: grief and loss of identity. Showing the destroyed Beirut through Mounia’s eyes I engaged in an attempt to question the themes of loss, identity, intergenerational trauma, and the future of oneself in relation to the past. Roaming the streets, accompanied by her friend Ghady, she finds herself questioning her reality, her future and her identity: Her home has become a living grave. While watching the film, I hope you also laugh, cry and wonder the way I did.

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Witches

COMEÇAR A OLHAR
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DOM 12 NOV • 11H00 | CINEMA SÃO JORGE • SALA 3

MACHSHEFOT
Liya Daniel Elbashan

Israel Fic 2023 10’

Convencidíssima de que a mãe é uma bruxa, Maya, de oito anos, e o seu melhor amigo espiam-na, empoleirados na casa da árvore no quintal, reunindo mais informações do que aquelas que esperavam.

Eight-year-old Maya is sure her mother is a witch. Together with her best friend they spy on her from the treehouse in the backyard, gathering more information than expected.

Argumento Screenplay Liya Daniel Elbashan
Produção Production Donna Hawa
Fotografia Cinematography Amitai Rosenberg
Montagem Editing Amnon Halbersberg
Música Music Yotam Aloof
Design de Som Sound Design Dolev Refaeli
Com With Talia Kavenstock Michael Sharon Ben Braiman Inbal Mendlovic
Distribuidor Distributor Deborah Fixler
Escola School Sam Spiegel Film and TV School

Estreia Mundial  World Première

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Dust Cloth

OLHARES DA TURQUIA
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SEG 13 NOV • 21H30 | CINEMATECA • SALA M FÉLIX RIBEIRO
COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT

Toz Bezi
Ahu Öztürk

Turquia, Alemanha Fic 2015 98’

Nesrin e Hatun são duas empregadas domésticas curdas que vivem em Istambul. Enquanto Nesrin tenta sobreviver com a filha pequena, procurando perceber o que levou o marido a abandoná-la, o sonho de Hatun é comprar uma casa no bairro onde fazem limpezas.

Nesrin and Hatun are two Kurdish cleaning ladies living in Istanbul. While Nesrin is trying to survive with her little daughter and understand why her husband left her, Hatun dreams of buying a house in the district where they work.

Argumento Screenplay Ahu Öztürk
Produção Production Çiğdem Mater, Nesra Gürbüz
Fotografia Cinematography Meryem Yavuz
Montagem Editing Ali Aga, Ayhan Ergürsel
Direcção de Arte Art Design Aslı Dadak, Barış Yıkılmaz
Design de Som Sound Design Michael Andreas
Com With Asiye Dinçsoy, Nazan Kesal, Serra Yılmaz, Didem İnselel, Mehmet Özgür

Estreia Nacional Portuguese Première

Prémios Awards
Melhor Filme, Melhor Argumento, Melhor Actriz, Istanbul FF, Turquia
Selecção oficial Berlinale Forum, Alemanha
Festivais Festivals
Berlinale Forum, Alemanha

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Motherland

OLHARES DA TURQUIA
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TER 14 NOV • 21H30 | CINEMATECA • SALA M FÉLIX RIBEIRO

Ana Yurdu
Senem Tüzen

Turquia, Grécia Fic 2015 96’

Nesrin trocou Istambul pela casa da família numa aldeia rural da Turquia para terminar o seu primeiro romance, mas quando a sua mãe religiosa e conservadora chega sem avisar, conflitos antigos ressurgem – revelando os cismas que dividem a Turquia moderna e forçando-as a explorar as partes mais sombrias do mundo interior da outra.

Nesrin has left Istanbul for the family’s village house in rural Türkiye to finish her first novel, but when her religious and conservative mother arrives unannounced, old conflicts resurface–revealing the schisms dividing modern Türkiye and forcing them to explore the darker parts of the other’s inner world.

Argumento Screenplay Senem Tüzen
Produção Production Olena Yershova, Adam Isenberg, Senem Tüzen
Fotografia Cinematography Vedat Özdemir
Montagem Editing Adam Isenberg, Yorgos Mavropsaridis
Música Music Aşık Veysel
Direcção de Arte Art Design Metin Çelik
Design de Som Sound Design Leandros Ntounis, Valia Tserou
Com With Esra Bezen Bilgin, Nihal Koldaş, Semih Aydın, Fatma Kısa
Distribuidor Distributor Senem Tüzen

Estreia Nacional Portuguese Première

Prémios Awards
Melhor Argumento, Asia Pacific Screen Awards, Austrália | Melhor Filme, Tbilisi IFF, Geórgia || Turquia Prémio FIPRESCI, Istanbul FFl | Melhor Filme, Melhor Fotografia, Melhor Montagem, Prémio da Crítica, Melhor Argumento, Melhor Realização, Ankara IFF | Melhor Filme, Melhor Montagem, Melhor Argumento, Melhor Realização, Melhor Actriz [Esra Bezen Bilgin], SIYAD Awards (Turkish Film Critics’ Association) | Melhor Fotografia, Melhor Argumento, Melhor Actriz [Esra Bezen Bilgin], Adana Golden Boll FF
Selecção oficial La Biennale di Venezia, Itália
Festivais Festivals
Venice IFF, Itália | Göteborg FF, Suécia

WEBSITE

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Mrs. Nebile’s Wormhole

OLHARES DA TURQUIA
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SEG 13 NOV • 21H30 | CINEMATECA • SALA M FÉLIX RIBEIRO

Nebile Hanım’ın Solucandeligi
Pınar Yorgancioglu

Alemanha, Turquia, Estados Unidos Fic 2016 14’

Se as paredes falassem…! Entediada com a sua doméstica e isolada rotina no Sul da Alemanha, Nebile, uma dona de casa turca de meia-idade, passa os dias a tecer fantasias sobre a vida dos outros. Um dia, decide resolver o problema com as próprias mãos e cava um túnel secreto para a casa do vizinho.

If walls could talk… Bored with her domestic and isolated routine in Southern Germany, Nebile, a middle-aged Turkish housewife, spends her days fantasising about the lives of others. One day she decides to take the matter in her own hands, and digs a secret tunnel into the house next-door.

Argumento Screenplay Pınar Yorgancioglu
Produção Production Aleksandra Todorovic, Nina Schwarz, Sarah Seulki Oh
Fotografia Cinematography Jonas Schneider
Montagem Editing Gurcan Cansever & Pinar Yorgancioglu
Música Music Giordano Franchetti
Direcção de Arte Art Design Alexander Timoshenko
Design de Som Sound Design Joseph Durniak
Com With Jale Arikan & Tim Seyfi
OUTROS Based on a Short Story by Nazli Eray
Distribuidor Distributor Pinar Yorgancioglu
Escola School Columbia University & Filmakademie Baden-Württemberg

Estreia Nacional Portuguese Première

Prémios Awards
Melhor Filme, _stanbul Independent FF, Turquia | Menção Honrosa, _stanbul FF, Turquia
Festivais Festivals
EUA Florida FF | St Louis FF | Urban World FF || Warsaw FF, Polónia | Antalya FF, Turquia

WEBSITE 

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