Directing
Which language shall we use to tell the stories we have been told? In which language shall we write a declaration of love? Lisbon, Bairro das Colónias, third floor. Conveying and translating an insightful encounter between different worlds, Fatumata and Aissato, mother and daughter, discuss love and the happiness. Their feelings have been determined by narratives and languages acquired at different stages of life and in different places. At 7pm, from the third to the fifth floor, where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building.
Fifty years after 25 April 1974, Luciana Fina revisits the images of the Carnation Revolution in Portugal, drawing on the archives of the Cinemateca Portuguesa and RTP. Starting from the films of the era, SEMPRE rethinks the transition from fascism to liberation and the process of building a new country, crafting its emancipation and future. It is a tribute to cinema that has interfered in history and breathes new life into an extraordinary moment in time.
Evocation of the artistic and cinematic expression of 1960s and 1970s’ public television in Italy. It is the early age of public broadcasting, during which cinema also questions its relation to reality and video art emerges as an experimental answer. The character, a young female viewer, committed to exploring and trying out a new medium, carries us through time. Blurring the lines between document and creation, the film places the viewer between the early age period of television and the period of time she spends in the room, between memory and imagination, utopia and experimentation.
The most solid and substantial role that architecture has always played is that of the construction of the places where people interact with one other, with nature, with other creatures and with inanimate objects. And where space, time and movement are not absolute concepts...
