COMPETIÇÃO GERAL CURTAS METRAGENS |||||||DOM 12 NOV • 11H00 | CINEMA SÃO JORGE • SALA 3
Feyrouz Serhal Líbano • Fic • 2023 • 22’
Samar, Jude e Imad, de 11 anos, são amigos e um dia decidem faltar às aulas para se aventurarem na sua cidade, Trípoli. O encontro entre a cidade e as três crianças cria magia em cada esquina.
Samar, Jude and Imad are 11-year-old school friends who skip school one day and venture into their city, Tripoli. The encounter between the city and the three kids creates magic around every corner.
Argumento Screenplay Feyrouz Serhal Produção Production Cynthia Choucair Fotografia Cinematography Bassem Fayyad Montagem Editing Maria Malek, Hadi Rahi Música Music Haitham Atme Direcção de Arte Art Design Feyrouz Serhal Design de Som Sound Design Haitham Atme Com With Miral Omar, Issam El Jamal, Ayham Merhi Distribuidor Distributor Lights On
Estreia Europeia European Première
Festivais Festivals Shanghai IFF [Estreia Mundial], China | São Paulo Intl Short FF, Brasil
MOSTRA LONGAS METRAGENS / FILME DE ABERTURA |||||||QUI • 21H30 | CINEMA SÃO JORGE • SALA MO
Dina Amer França, Egipto, USA • Fic • 2021 • 90’
Após ter sido separada da irmã mais nova, Hasna luta para encontrar a sua identidade, chegando a uma escolha que choca o mundo. A realizadora Dina Amer aborda uma das questões mais sombrias do nosso tempo, a radicalização, e desconstrói-a numa narração íntima sobre família, amor, e pertença. Produzido por Spike Lee e Spike Jonze, este drama é uma história crua sobre traumas culturais e intergeracionais nos subúrbios de Paris.
After being torn apart from her younger sister, Hasna struggles to find her identity, coming to a choice that shocks the world. Director Dina Amer takes on one of the darkest issues of our time, radicalization, and deconstructs it in an intimate narrative about family, love, sisterhood, and belonging. Produced by Spike Lee and Spike Jonze, this drama is an unvernished story of cultural and intergenerational trauma on the outskirts of Paris.
Argumento Screenplay Dina Amer, Omar Mullick Produção Production Dina Amer, Elizabeth Woodward, Karim Amer ProduçãoExecutiva Executive Production Spike Lee, Spike Jonze Fotografia Cinematography Omar Mullick Montagem Editing Keiko Deguchi ACE, Jake Roberts ACE Música Music Saunder Jurriaans, Danny Bensi Design de Som Sound Design Carolina Santana, Nicolas Becker, Tom Paul Com With Lorenza Grimaudo, Ilonna Grimaudo, Mouna Soualam, Sabrina Ouazani, Dina Amer Distribuidor Distributor WILLA
Estreia NacionalPortuguese Première
Prémios Awards Estreia mundial, nomeado para o prémio Giornate degli Autori, La Biennale di Venezia, Itália E mais de 20 prémios em… Alemanha, Arábia Saudita, Espanha, EUA, Grécia, Índia, Luxemburgo, Países Baixos, República Checa Festivais Festivals Festivais Festivals São Paulo IFF, Brasil | Mena FF, Vancouver, Canadá | Tallinn Black Nights FF, Estónia | Maryland FF, EUA | Thessaloniki Documentary FF, Grécia | Dublin IFF, Irlanda | Stockholm IFF, Suécia | Human Rights Watch FF
Nota da Realizadora Director’s Statement This project was born out of pure intention. As a Muslim woman living in the West, I’ve had to reconcile seemingly disparate pieces of my identity: what does it look like to be a woman jostling modernity, tradition, faith and sexuality when you receive different messaging in the globalized world we inhabit today? I was left with no choice but to try to understand how youth who share my identity chose violence as a means to justice and purpose. Their failure to reconcile a Muslim Western identity ends in a haunting headline. I’m originally Morroccan on my Father’s side and so I have a very direct connection to Hasna in our lineage. We’re both a production of an Arab and Western hybrid, a result of the intertwining of those two histories. I’ve seen first hand through my life how my identity as an Arab Westerner is a threat to the world. I’ve made it my life’s mission to understand why some people with my identity have failed to find identity and purpose and a sense of home within themselves and in the West. For me, this is a global story but the specificity of YOU RESEMBLE ME is that it’s a French story. This wound is rooted in France but vibrates throughout the entire world. As a Muslim, my rage was directed towards individuals, like Hasna, who took a seed of faith which grounds me into peace and perverted it as a justification for violence. Islam, a faith meant to bring peace, is used to wreak mayhem and carnage. It was not until I spent six months with incarcerated men at Rikers Prison doing a cinema and theater exchange, that I realized I can’t define people by the worst thing they have ever done, and every soul is worthy of redemption — even those Muslims who committed crimes too painful and close for me to look past. I spent the first decade of my career as a journalist working for CNN, The New York Times, PBS and Vice News. I was reporting on the scene at Saint Denis during the police raid that ended Hasna’s life, and heard that explosion go off. The police falsely reported to the media that a female suicide bomber had set off the explosion in the apartment. I reported live, just like every other media outlet, that Hasna was the “first female suicide bomber in Europe”. She became front-page news all over the world, only for the police to retract their statement shortly after. But the damage was done, the fear of a female suicide bomber was in the air. I witnessed first hand the fear and hysteria of veiled women and the community at large of France’s formerly colonized, who knew their safety in an already racist country which deprives them of equal opportunities, would only deteriorate. It was clear that France’s dreams of “La Vie Ensemble” or “Liberté, Egalité, Fraternité” were shattered. I knocked on Hasna’s mother’s door. She had turned away every single camera, except mine. Quite frankly, I believe it was because I reminded her of the daughter she had abandoned. I was the only female Arab Muslim woman who came with compassion and yearning to understand, because the health of my identity depended on it. Spike Lee, my professor at NYU Tisch, wisely advised me to leave my Masters program and focus on this film. I spent over three years filming with the family of Hasna, a woman called “Europe’s first female suicide bomber” and realized there was a unique opportunity to tell this story of terror through a female perspective and through the lens of something that is a universal, a dysfunctional family. I went to the morgue and visited Hasna when her family saw her body for the first time. I understood that there was a huge cultural wedge between the White French Parisian forensic doctors and this Arab French family. Both sides were in mourning, except Hasna’s family was not allowed to mourn in public; they were left ashamed and undone with blood on their hands, asking what they could have done to keep her from this fate? They are the witnesses to her story and their testimonies — in which they try to understand who is to blame and point the fingers back at themselves — is threaded through the film like a chorus to a Greek Tragedy. Because Hasna is not alive, I felt that intimacy and direct experience of her childhood and her adult life up till the point of her viral death was important. There is a saying “if you knew everyone’s story you would fall in love with them.” That’s what direct intimacy does. I wanted an audience to see themselves in the other that is deemed inhumane, to understand through direct experience how “a monster is made.” On a global level, we are reckoning with the sins and crimes of the past to understand how we arrived at this present moment. In France, and the whole world, a colonial revision is necessary to reframe the story of terror and how the West is culpable. Today, America and other former empires are flogging themselves for their original sins. Yet, the things we have not begun to talk about in this moment are the sins that these countries are committing in the present moment, which have happened in our lifetime, with our tax dollars: the War on Terror. On a more personal level, this film is a continuation of my most beloved and prized film of all time — THE BATTLE OF ALGIERS. I get chills when I revisit the scenes of the attacks happening at the hands of the Algerian resistance fighters in the film, whether it be the bombs planted by women going off in the restaurant and dance hall or the truck mowing down white French colonizers. For me, it’s blatantly clear that the modern day attacks in Paris are a continuation of that colonial fight, now emboldened with a pseudo Islamic resolve. I felt compelled to make this film because this story runs through my veins. It is very important to me that this film be first experienced by a French audience because what is happening in the country right now truly breaks my heart. If this film can offer any healing, any positive discourse, a more humane way forward, and bridge the divide, I will feel like I’ve done something meaningful with my life. This film is my offering. I spent more than 5 years on the ground with Hasna’s family and the fiction script is written from that experience to make it as authentic as possible. YOU RESEMBLE ME is an urgent film that speaks to our current and universal shared reality. It’s a story that looks at what can happen when people are pushed into difficult circumstances, which is increasingly a reality for many in the fragile times we are living through. It’s a story that deconstructs news narratives into a human lens of understanding and direct experience. It’s a story about a woman who is radicalized into terror — a narrative we never get access into and is always overshadowed by the story of a male perspective. In some ways it is the real life JOKER, or CAPERNAUM, or DO THE RIGHT THING, or REDS of our times. At least that is my intention. I know from my experience within these communities that there are so many Hasna’s out there who are desperately looking for family, direction, and love in all the wrong places. Sadly, most of these souls only become known to us through the headlines. As a recovering journalist, I know too well how the news medium is sensationalized, at times fictitious, and — despairingly — a source of inspiration for other violent attacks. We need to find a better way to talk about violence in our communities and I believe film is the way.
COMPETIÇÃO GERAL CURTAS METRAGENS |||||||QUI 9 NOV • 19H30 | CINEMA SÃO JORGE • SALA 3
EL PENSAMIENTO MÁGICO Eva Saiz Espanha • Fic • 2022 • 11’
Pablo passa as tardes no bairro com o irmão mais velho e os amigos deste. O Verão é o cenário mais louco das suas vidas, como se o mundo só existisse para as crianças. Apesar da realidade confusa em que cresce, para Pablo, cada dia é uma oportunidade de descobrir o mundo e de o compreender à sua maneira.
Pablo spends afternoons in his neighbourhood with his older brother and his friends. Summer is the craziest scenario of their lives as if the world had been left to children alone. Despite the confusing reality in which he grows up, for Pablo every day is an opportunity to discover the world and understand it in his own way.
Argumento Screenplay Eva Saiz Produção Production Raquel Pedreira, David Moreno Fotografia Cinematography Jorge Sirvent Montagem Editing Pablo Barce Direcção de Arte Art Design Ernesto Soriano Design de Som Sound Design Amaia Yañez, Martín Jiménez Com With Saúl Esgueva, Marcos Pérez, Eneko Otero, Tristán Poza, Luis Turel, Diego Héctor López Distribuidor Distributor Marvin&Wayne
Estreia Nacional Portuguese Première
Prémios Awards Melhor Fotografia, Semana del Cortometraje de Medina del Campo, Espanha | Prémio “Manuel Carmona Mir”, Semana de Cine de Melilla, Espanha Festivais Festivals Espanha Festival Internacional de Cine de Xixón/Gijón | Festival de Málaga | Huesca IFF | ManzanaREC Festival de Cortometrajes | Warsaw FF, Polónia
Nota da Realizadora Director’s Statement Magical thinking is a tribute to childhood understood as a different way of looking at the world. It speaks of reality as a subjective term and imagination as a salvation plank, addressing the sense of innocence from a transformative perspective.
10º Edição – OLHARES DO MEDITERRÂNEO 2023 MELHOR FILME BEST FEATURE COMPETIÇÃO GERAL LONGAS FEATURE FILM COMPETITION MENÇÃO HONROSA HONORABLE MENTION TRAVESSIAS-ISCTE
COMPETIÇÃO GERAL LONGAS METRAGENS / TRAVESSIAS ||||||| SEX 10 NOV • 19H30 | CINEMA SÃO JORGE • SALA 3
Jumana Manna Palestina • Doc • 2022 • 64’
Foragers situa-se entre o documentário e a ficção para retratar a tensão entre a Autoridade Israelita de Protecção da Natureza e os respigadores palestinianos, que recolhem ervas silvestres para a preparação do Za’atar. Com um humor subtil, fruto do desespero, e sem nunca mostrar as manifestações mais cruas da violência, o filme descreve o quotidiano nos Territórios Ocupados.
Foragers moves between documentary and fiction to depict the drama between the Israeli Nature Protection Authority and Palestinian foragers. With a wry sense of humour, the film captures the inherited love, resilience and knowledge of these traditions, over an eminent political backdrop.
Argumento Screenplay Jumana Manna Produção Production Jumana Manna Fotografia Cinematography Marte Vold, Ashraf Dowani, Yaniv Linton Montagem Editing Jumana Manna, Katrin Ebersohn Design de Som Sound Design Montaser Abu ‘Alul, Raja Dubayah, Ibrahim Zaher Com With Aziza Manna, Adel Manna, Zeidan Hajib, Mahmoud Shawahde, Ihab Salameh, Najma Hamdan, Samir Na’amneh, Nadia Na’amneh, Guy Elhanan, Oren Pais, Kayed Boshnaq, Adam Haj Yahya
Prémios Awards Wild Dreamer Award para Melhor Documentário, Subversive Festival, Zagreb, Croácia | Green Dox Award, Dokufest, Kosovo Selecção oficial IDFA, Amsterdam, Países Baixos Estreia mundial Vision du Reel IFF, Nyon, Suíça Festivais Festivals Dok Leipzig, Alemanha | IFF Innsbruck, Áustria | Arab Women’s FF, Brasil | Festival Ciné-Palestine, Paris, França | Festival Ciné-Palestine, Marselha, França | Chicago Palestine FF, EUA | IDFA, Amesterdão, Países Baixos | Festival Intl de Cinema de Santarém, Portugal | CPH:DOX Artists & Auteurs, Copenhaga, Suécia | Vision du Reel, IFF Nyon [Estreia mundial], Suíça | Gabes FF, Tunísia
A programação deste filme foi apoiada por fundos nacionais através da FCT – Fundação para a Ciência e a Tecnologia, I.P., no âmbito do projecto UIDB/00183/2020 (IFILNOVA).
COMPETIÇÃO GERAL CURTAS METRAGENS |||||||QUI 9 NOV • 17H00 | CINEMA SÃO JORGE • SALA 3
SAHBETY Kawthar Younis Egipto • Fic • 2022 • 17’
Desejando desesperadamente a intimidade, Ali segue uma sugestão da namorada que põe à prova a relação. O plano desenrola-se inesperadamente quando os papéis de género se tornam confusos.
Desperate for intimacy, Ali follows his girlfriend’s suggestion that puts their relationship to the test. The plan unfolds unexpectedly when gender roles become blurred.
Argumento Screenplay Ahmed Essam El Sayed, Kawthar Younis Produção Production Sandro Canaan Fotografia Cinematography Seif Eldin Khaled Montagem Editing Khaled Marei Música Music Mohamed Fawzy Direcção de Arte Art Design Kawthar Younis Design de Som Sound Design Mohamed Fawzy, Rami Hussein Com With Marc Haggar, Ilham Safei El Din, Fadel El Garhi, Sonia Farid Distribuidor Distributor Lights On
Estreia Nacional Portuguese Première
Prémios Awards Egipto Prémio Especial do Júri, Cairo IFF | Melhor Filme, Melhor Realização, Melhor Actriz, Melhor Actor, Cairo Shorts FF | Melhor Realização, Zawya Shorts || Melhor Curta, Júri UPEC, Festival Intl de Films de Femmes, França | Melhor Filme Árabe, Amman IFF, Jordânia | Melhor Argumento, Casablanca Arab FF, Marrocos | Melhor Actriz (Ilham Safei El Din) Djerba Arab FF, Tunísia Estreia mundial La Biennale di Venezia, Itália Festivais Festivals Arab FF, Berlim, Alemanha | Arab Women’s FF, Brasil | Shanghai IFF, China | Ningbo Short FF, China | _Festival Intl de Cine Corto de Cali, Colômbia | Luxor African FF, Egipto | Festival de Cine Africano, Espanha || França Les Nuits Méditerranéennes | Festival du film court en plein air de Grenoble | Festival Intl du Film de Nancy || Dublin IFF, Irlanda_ || Itália Venezia, Mostra Internazionale d’Arte Cinematografica [Estreia Mundial] | MedFF | Passaggi d’Autore: intrecci Mediterranei | Festival del Cinema Africano, d’Asia e America Latina | Cisterna FF | Fiaticorti FF || Short Shorts FF & Asia, Japão | __Batroun Mediterranean FF, Líbano | _Tripoli FF, Líbano | _Roze Filmdagen – The Amsterdam LGBTQ+ FF, Países Baixos | SAFAR FF, Reino Unido | _Anonimul Intl Independent FF, Roménia | Film O’Clock IFF, Roménia | Malmö Arab FF, Suécia | Stockholm IFF Junior, Suécia | Fribourg IFF, Suíça | __Festival cinémas d’Afrique, Lausanne, Suíça | Zanzibar IFF, Tanzânia | Gabes Cinema Fen, Tunísia | Akbank Intl Short FF, Turquia
COMPETIÇÃO GERAL LONGAS METRAGENS |||||||SEX 10 NOV • 21H30 | CINEMA SÃO JORGE • SALA 3 COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT
FOUR WOMEN BY THE WATER Claudia Clemente Portugal • Fic • 2023 • 70’
Um homem acaba de morrer, no que aparenta ter sido um infeliz acidente. Um perito da seguradora visita quatro mulheres que lhe falam dele: a mãe, a viúva, a amante e a filha. Vamos descobrindo o personagem ausente através desses relatos – cada um deles completa ou modifica o anterior – até compreendermos por fim quem terá sido, realmente, o homem que morreu e as razões que levaram à sua morte.
A man has just died in what appears to be an unfortunate accident. An insurance expert visits four women who tell him about him: his mother, his widow, his mistress and his daughter. We discover the absent character through these reports – each one completes or modifies the previous one – until we finally understand who the deceased man really was and the reasons that led to his death.
Argumento Screenplay Claudia Clemenete Produção Production Ana Costa (Cinemate) Fotografia Cinematography Acácio de Almeida Montagem Editing Patrícia Saramago Música Music João Lima, João Alves da Costa Direcção de Arte Art Design João Torres Design de Som Sound Design Pedro Melo Com With Maria do Céu Guerra, Ana Padrão, Lara Li, Mina Andala, Miguel Borges Distribuidor Distributor Cinemate
COMPETIÇÃO GERAL CURTAS METRAGENS |||||||SAB 11 NOV • 19H00 | CINEMA SÃO JORGE • SALA 3
Isabella Margara Grécia • Fic • 2022 • 17’
Numa pequena aldeia mediterrânica, um antigo mito ganha vida inesperadamente. Dois pescadores encontram um golfinho preso acidentalmente nas suas redes. Por sua vez, o golfinho encontra um pescador a afogar-se e tenta salvá-lo.
In a small Mediterranean village, an ancient myth unexpectedly comes to life. Two fishermen find a dolphin accidentally caught in their nets. The dolphin, on its turn, finds a fisherman drowning in the water and tries to save him.
Argumento Screenplay Isabella Margara Produção Production Kyriaki Virou Fotografia Cinematography Claudio Bolivar, GSC Montagem Editing Christos Giannakopoulos Música Music Greg Eleftheriou Design de Som Sound Design Leandros Ntounis Com With Dimitris Kataleifos, Giorgos Symeonidis, Flomaria Papadaki, Samouel Akinola, Christos Karavevas Distribuidor Distributor Zen Movie
Estreia Nacional Portuguese Première
Prémios Awards Melhor Curta de 2023, Heart Of Gold International Short FF, Austrália | Prémio do Público, Clermont-Ferrand Intl Short FF, França || Grécia Prémio do Público,Micro μ Festival | Cinematic Achievement Award, Thess Short FF | Prémio do Público, Balkan Can Kino Festivais Festivals Landshut Shortfilm Festival, Alemanha | Palencia IFF, Espanha | Drama Intl Short FF, Grécia | Athens IFF, Grécia
COMPETIÇÃO GERAL LONGAS METRAGENS |||||||DOM 12 NOV • 16H30 | CINEMA SÃO JORGE • SALA 3 COM A PRESENÇA DA REALIZADORA THE DIRECTOR WILL BE PRESENT
A seguir à projecção haverá um debate (em inglês) The screening of the film will be followed by a round table in English ||||||| 18H00 | CINEMA SÃO JORGE • SALA 2 DEBATE• RADICALIZAÇÕES: AS MULHERES NO ISIS A partir do filme da sessão anterior ENTRADA LIVRE no debate / FREE ENTRY in the round table
A realizadora dará ainda uma masterclass em Inglês The director will give a masterclass in English ||||||| SAB 11 NOV • 14H30 | CINEMA SÃO JORGE • SALA 2 MASTERCLASS • JOURNALISM AND DOCUMENTARY FILM: FROM THE IDEA TO THE SCREENS ENTRADA LIVRE na masterclass / FREE ENTRY in the masterclass
Benedetta Argentieri Itália • Doc • 2022 • 90’
A história de Tooba Gondal, uma das mais mal-famadas jihadistas britânicas, que aos 20 anos deixou Londres para se juntar ao ISIS e tornar-se mundialmente famosa como “a casamenteira do ISIS” depois de recrutar uma dúzia de mulheres ocidentais para se casarem com combatentes do jihadistas. Entre 2014 e 2017, empenhou-se activamente em propaganda nas redes sociais, antes de desaparecer durante anos.
The story of Tooba Gondal, one of the most infamous British jihadists. When she was 20 years old she left London to join ISIS and gained popularity worldwide as “the ISIS matchmaker” after she recruited a dozen of Western women to marry jihadists fighters. Between 2014 and 2017 she actively engaged in propaganda on social networks, before disappearing for years.
Argumento Screenplay Benedetta Argentieri, Maria Edgarda Marcucci Produção Production Domenico Procacci, Laura Paolucci Montagem Editing Matteo Mossi, Serena Pichi Música Music Gian Luigi Carlone Distribuidor Distributor Fandango Sales
Estreia Nacional Portuguese Première
Prémios Awards Selecção oficial La Biennale di Venezia, Itália Festivais Festivals Shanghai IFF, China | Zinebi – Bilbao Intl Festival of Documentary and Short Film, Espanha | Haifa IFF, Israel | La Biennale di Venezia, Itália | Stockholm IFF, Suécia | Beautiful Docs
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
COMPETIÇÃO GERAL LONGAS METRAGENS / TRAVESSIAS |||||||SÁB 11 NOV • 21H30 | CINEMA SÃO JORGE • SALA 3 COM A PRESENÇA DO DIRECTOR DE FOTOGRAFIA THE DIRECTOR OF CINEMATOGRAPHY WILL BE PRESENT
Em Serekaniye, uma cidade na fronteira entre a Síria e a Turquia ameaçada pela guerra, três jovens curdas, Gule, Barin e Naze, planeiam os casamentos com que sempre sonharam. Quando as primeiras bombas atingem a cidade, as três fogem da cidade enquanto o seu destino muda e os seus sonhos também.
In Serekaniye, a city on the border between Syria and Turket threatened by war, three young Kurdish women, Gule, Barin and Naze are planning their dream weddings. When the first bombs hit the city, they flee Serekaniye while their destinies and dreams change.
Argumento Screenplay Sevinaz Evdike Produção Production Dijwar Mousa Fotografia Cinematography Olmo Coute Perez Montagem Editing Simon Al Haber Música Music Mahmoud Berazi Direcção de Arte Art Design Mahmoud Sheikh Design de Som Sound Design Victor Perez Com With Najbir Khan
Nota da Realizadora Director’s Statement Since 2012 I have lost many things starting with the life I used to have and many friends, ending with relatives and families. Also, as a filmmaker as I have witnessed all the combats from the fight against ISIS until the Turkish occupation of Serekaniye, my city. Watching Russia, the US and the Syrian regime on the streets of our cities and taking no action against this occupation, I believe it would be of great importance for me and my people as a female Kurdish filmmaker to narrate the story of hundreds of thousands of Kurds through the story of a simple life event, such as a wedding, which will act as the manifestation of people’s struggles on this small piece of a huge conflicts. Rojava now is facing a huge occupation by Türkiye, the second biggest army in NATO, and all the people of Serekaniye, including our three female characters are forced to move from Serekaniye. This occupation will again put the people of Rojava including these families under the threat of massive displacement. The brides’ destiny is blurry, taken away as they have been from their place, where their families were in a city that resembles them in language, traditions and costumes. The situation in Rojava is one of its own kind, it’s a mini-second world war. On this little territory, Rojava, one is able to see all the sophisticated armies of the world in its streets. Despite the ongoing murdering and death of people of Rojava on a daily basis, those armies only do their requested tasks and close their eyes to the death of people. It is one of the world wonders that the US military and the Russian military are in the same cities, crossing each other in this small area in the world. However, even when both those incompatible powers meet on a point in this land, they do not meet to protect its people rather they are here to protect their own interests. On the other hand, the story of the three women that I was inspired from are real stories that happened in Rojava. They are my friends and their families, somehow I thought that as a filmmaker I can be the person who can tell these stories. They represent all what the society went through and the contradictions of our simple society itself. While we were facing a war we couldn’t break away from our social and religious rules about women. At the same time, we show women like Gule who take action and decisions changing the life that she used to live and accept. We try to tell the story of a big war through the small stories of three women. I try to talk about the suffering and how life continues during this bad time. In every circumstances the human being must survive. It is of great significance to share the stories of this land through the families that were witness and also took part in all the changes that happened here, and by on one hand show the humanitarian situation of the Kurdish people who live now in camps and schools, and by on the other hand. Therefore, I ,as a Kurdish woman who has spent all her life here, will always support and be part of the ongoing work of the Autonomous-Administration which supported and gave women the privilege of everything in Rojava. Unfortunately, I have experienced displacement and was forced to flee from my house twice, leaving everything behind. The three characters, as I told below, were inspired by my friends and families, somehow I thought that as a filmmaker I owe them to tell their stories to the world.
A TEMPORARY SITUATION Ânia Bento Portugal • Doc • 2023 • 68’
O filme acompanha a vida de duas mulheres: Ânia de 34 anos e Olívia de 24. Ambas são portuguesas, vivem em Lisboa e trabalham numa loja de bijuteria, para pagar as suas contas. Através da repetição dos seus dias e da sua constante dificuldade em fazer face às despesas enquanto perseguem os seus sonhos, vislumbramos o sistema social-económico português.
A Temporary Situation follows the lives of two Portuguese women in Lisbon: 34-year-old Ânia and 24-year-old Olívia. Both work in a jewellery store to pay their bills. The repetitive pattern of their days and their constant difficulty in making ends meet while chasing their dreams, provides a glimpse of the current social-economic system in Portugal.
Argumento Screenplay Ânia Bento Produção Production Ânia Bento Fotografia Cinematography Ânia Bento Montagem Editing Ânia Bento Música Music Ânia Bento – João Gazua Direcção de Arte Art Design Ânia Bento Design de Som Sound Design Ânia Bento – João Gazua Com With Ânia Bento Distribuidor Distributor Ânia Bento
Nota da Realizadora Director’s Statement “Uma Situação Temporária é o meu manifesto sobre os tempos que atravessam o meu país, Portugal. Este filme nasce, precisamente, da repetição dos dias e da forma como a sociedade está pensada, que nos estrangula cada vez mais com a inflação na habitação, no supermercado, tornando a vida insustentável. Muitos, como eu, acabam por voltar para a casa dos pais, arranjando trabalhos precários sem futuro, apenas para pagar contas, perdendo assim toda a hipótese de fazer vingar desejos, talento e o prazer de viver. Esta é também a minha forma de protesto ao círculo fechado de interesses que penso ainda existir na cultura em Portugal, que muitas vezes acaba por vedar oportunidades a quem chega de fora das grandes cidades. Realizar Uma Situação Temporária foi uma forma de dar voz a tudo isto que sinto e vivo.”
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O armazenamento ou acesso técnico é necessário para o propósito legítimo de armazenamento de preferências não solicitadas pelo assinante ou utilizador.
Estatísticas
O armazenamento técnico ou acesso que é usado exclusivamente para fins estatísticos.O armazenamento técnico ou acesso que é usado exclusivamente para fins estatísticos anónimos. Sem uma intimação, conformidade voluntária por parte do seu Fornecedor de Serviços de Internet ou registos adicionais de terceiros, as informações armazenadas ou recuperadas apenas para esse fim geralmente não podem ser usadas para identificá-lo.
Marketing
O armazenamento ou acesso técnico é necessário para criar perfis de utilizador para enviar publicidade ou para rastrear o utilizador num site ou em vários sites para fins de marketing semelhantes.
