Enyo é uma guerreira corajosa e ousada decidida a resgatar do Inferno o seu falecido mentor. Na sua busca, Enyo conhece Cerberus e torna-se amiga dele.
Enyo is a brave and daring warrior determined to bring back her dead mentor from Hell. In her quest, Enyo meets Cerberus and becomes friends with him.
Argumento Screenplay Alixe Devaux Produção Production Philippe Meis Montagem Editing Alixe Devaux Música Music Guillaume Delbarre Com With Voice: Robert Benett Distribuidor Distributor Je Regarde Escola School Supinfocom Rubika
Estreia Nacional Portuguese Première
Festivais Festivals Stuttgart Intl Festival of Animated Film, Alemanha | Toronto Animation Arts Festival Intl, Canadá | Spark Animation, Vancouver, Canadá | Xiamen Intl Animation Festival, China | Intl Student Film & Video Festival, Beijing, China | SIGGRAPH ASIA, Daegu, Coreia do Sul | Animateka Intl Animated FF, Eslovénia | ANIMAC Intl Animation FF of Catalonia, Espanha | Festival Premiers Plans, França
COMEÇAR A OLHAR |||||||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.
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
COMEÇAR A OLHAR |||||||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 Director’s 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.
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 |||||||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
COMEÇAR A OLHAR |||||||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
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.
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 |||||||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
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.
COMEÇAR A OLHAR |||||||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
10º Edição – OLHARES DO MEDITERRÂNEO 2023 PRÉMIO INATEL – MELHOR CURTA DE ESCOLA PORTUGUESA BEST PORTUGUESE SCHOOL SHORT FILM COMPETIÇÃO COMEÇAR A OLHAR SCHOOL FILM COMPETITION OUÇA AQUI LISTEN TO ELIANA CALEIA
TRAVESSIAS / COMEÇAR A OLHAR ||||||| SAB 11 NOV • 16H00 | CINEMA SÃO JORGE • SALA 3 COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT
Mini-documentário observacional sobre um dia na vida de Vítor Sanches, um africano da diáspora que é proprietário de uma livraria/biblioteca e de uma marca de roupa sustentável no bairro da Cova da Moura em Lisboa.
Observational mini-documentary about a day in the life of Vítor Sanches, an African from the Diaspora who owns a bookshop/library and a sustainable clothing brand in the Cova da Moura neighbourhood in Lisbon.
Argumento Screenplay Eliana Caleia Produção Production Eliana Caleia Fotografia Cinematography Diogo Palma Montagem Editing Eliana Caleia Design de Som Sound Design Diogo Palma Com With Vítor Sanches Distribuidor Distributor Lusófona Filmes Escola School Universidade Lusófona de Lisboa
Por que nos escolheram a nós, “estudantes do terceiro mundo”, para frequentar esta escola de cinema em Paris? E o que podemos filmar aqui? Um lugar onde não pertencemos. Fátima conduz uma investigação.
Why did they choose us “students from a third world” to be part of this cinema school in Paris? And what can we film in here? A place where we don’t belong. Fatima leads an investigation.
Argumento Screenplay Fatima Joumaa Produção Production Jennifer Miola- Constance Gronnier Fotografia Cinematography Fatima Joumaa Montagem Editing Fatima Joumaa Design de Som Sound Design Nicolas Zarate Com With Tito Villegas Gaston Bonkoungou Hanifa Ali Oumar Marta Youssef Sanhaji Fatima chreim. Escola School La Fémis
Estreia Europeia European Première
Prémios Awards Menção Honrosa, European FF, Líbano
Nota da Realizadora Director’s Statement How can I do a film in a place where I consider myself an outsider, Where I don’t belong. I always had this dilemma of not belonging, yet in Paris I am certain and aware of it. I find myself with 19 people from a “third world”, in a summer school in Paris and each day someone is dedicating to us what cinema should be. And I have so many questions, regarding our presence in here, In a sudden way, it becomes so political, So, I knew that I should start with what I know best, talking to others and letting my questions be heard. I knew that I wanted to archive in a film those friends I met, those different approaches to cinema, those different ways to live. I had no idea, how it’s going to end, The film. But I knew that everything was going to lead me to my home.
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