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THE IMAGINARY TOPOGRAPHIES: Lisbon, City of the South
4th cycle of commented screenings


The Imaginary Topographies cycle is designed to reveal the way in which Lisbon has been reinvented by the cinema. Each session offers the experience of a commented screening, an exercise in viewing and reviewing films in their relationship with the city, examining the role that the cinematic gaze can play as an agent of transformation. 

In this special programme, each session will culminate in the screening of films in the open air, with each film being associated with the place where it is shown and creating a new space that is simultaneously real and imaginary.

By taking a tour that stops at six different venues, we will discover an archipelago of unknown places, lying behind the scenes of the city’s daily flow and bordering on the other cities surrounding Lisbon, observing their unexpected transformation through cinema. 
Situated far from the eyes of the rest of the city, for a few brief moments these places will be its centre: in each of them, there will be an open-air cinema session, and each of them will be simultaneously discovered and transformed by the film shown there. The films are all from very different periods and latitudes, offering an exchange of gazes between South America and Lisbon, which, through the contact that they establish with the spaces where they are being screened, will create another city that could only exist through cinema. Lisbon, City of the South will therefore be a journey of exploration, a rediscovery (also imaginary) of the city, and in particular of Lisbon as a place of the South.

1 September, Friday

18:00 Arquivo Municipal de Lisboa – Video Library
THE DISCOVERY OF BRAZIL (Humberto Mauro, Brazil, 1937)

Screening commented by
José Filipe Costa | filmmaker (pt)
Eduardo Victorio Morettin | film historian and researcher (br)
Tiago Baptista | film historian and director of ANIM (National Film Archive) (pt)

21:00 bus: AML – Video Library – venue for screening (with an imaginary guided tour)

21:30 Bairro São João de Brito 

Open-air film screening 
THE DISCOVERY OF BRAZIL (Humberto Mauro, Brazil, 1937) | 60’ 
O CASO J. (THE CASE OF J.) (José Filipe Costa, Portugal/Brazil, 2017) | 20’

We begin by tackling one of the fundamental questions of this programme head on: the relationship between the centre and the periphery and between "us” and the "others”, which lies at the basis of the idea of the "Iberian-American capital” (a relationship that the whole programme of Lisbon, Iberian-American Capital seeks to question). We follow the view of a Brazilian about the Portuguese who "discovered” his country for him and the view of a Portuguese about a case that took place in contemporary Brazil. Joining the two films together is a certain conception of the cinema as a documentary theatre and of the cinematic scene as a magnifying lens.

2 September, Saturday

18:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

18:30 Salão de Festas of the Junta de Freguesia de Marvila

MIRACLE IN TERRA MORENA (Santiago Alvarez, Cuba/Portugal, 1975)
ANOTHER COUNTRY (Sérgio Tréffaut, Portugal, 1999)

Screening commented by 

Olivier Hadouchi | programmer and researcher, working on the "Third Cinema” (fr)
Cinta Pelejà | film programmer and researcher (es)
Fernando Rosas | historian 

21:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

21:30 Parque do Vale Fundão (Marvila)
Open-air film screening 
MIRACLE IN TERRA MORENA (Santiago Alvarez, Cuba/Portugal, 1975) | 21’
ANOTHER COUNTRY (Sérgio Tréffaut, Portugal, 1999) |70’

Sérgio Tréffaut’s film follows the journeys that filmmakers and photographers undertook during the 25 April Revolution in 1974. Among these journeys is the one made by Santiago Alvarez, whose film, shot in Lisbon at that time, will open the session. 
The films will be screened in a neighbourhood built and inhabited by emigrants, who came to the South from the North of Portugal. At the heart of this session, therefore, is the journey that freedom inspired and made possible, as well as the affinities that the peoples of South America felt with Portugal at this time of a complete break with the past.

3 September, Sunday

18:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

18:30 Miradouro de Santo Amaro (churchyard of the Chapel)
ZÉFIRO (José Álvaro de Morais, Portugal, 1994)

Screening commented by

Anabela Moutinho | teacher, film programmer (pt)
Raquel Henriques da Silva | historian (pt)
António Preto | teacher, film programmer (pt)

21:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

21:30 Miradouro de Santo Amaro
Open-air film screening 
ZÉFIRO (José Álvaro de Morais, Portugal, 1994) | 52’

This is a fundamental film for the history of Portuguese cinema. Zéfiro is also considered essential for understanding the history of Lisbon and it brings to this programme another reason explaining why this is a city of the South. This phrase, which is the title of this cycle, is spoken by the narrator and summarises the portrait that has been built up by José Álvaro de Morais: organising a journey through Lisbon that is both temporal and spatial, the filmmaker recounts the history of the city, its spaces and architecture, but also of the peoples that have dwelt there over time. At this level, Lisbon appears as the result of a reversal of the acculturation process: the city is the result, not of the Christianisation of Islam, as is generally thought, but rather of the Islamicisation of Christianity, a religion that still lies today at the very roots of its culture. Screened in the churchyard of the Capela de Santo Amaro, the film will help us to take a fresh look at the city as a whole, which is seen from there in a totally new way.

8 September, Friday

18:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

18:30 Auditorium of the Museu da Carris
ILLUSION TRAVELS BY STREETCAR (Luís Buñuel, México, 1953)

Screening commented by
Luísa Veloso| researcher, coordinator of the project "work on the screen” (pt)
Ana Alcântara | historian, researching into Lisbon, the working classes and transport (pt)
António Roma Torres |  psychiatrist, film critic

21:00 bus: Praça da Figueira – venue for screening (with an imaginary guided tour)

21:30 Museu da Carris
Open-air film screening 
ILLUSION TRAVELS BY STREETCAR (Luís Buñuel, México, 1953)

The film, which is considered to be a classic of Mexican cinema, follows the workers of a tram company operating in Mexico City. Their journey lasts for one night, from the moment when they steal a tram until the time when they return it the next morning. Throughout the course of this night, different characters from the most hidden part of the city’s daily life get on and off the tram. In a film session that will be screened at the tram station of the Carris transport company, the magic of the film being shown will transform Mexico City into Lisbon (or vice-versa).

9 September, Saturday

17:00 bus: Praça da Figueira – venue for screening  (with an imaginary guided tour)

17:30 Teatro de Carnide

LOS BARCOS (THE BOATS) (Dominga Sotomayor, Chile/Portugal, 2016)
FUERA DE CUADRO (OUTSIDE THE FRAME) (Mário Laranjeira, Portugal/Argentina, 2010)
MAURO EM CAIENA (MAURO IN CAIENA) (Leonardo Mouramateus, Brazil, 2012)
OÙ EST LA JUNGLE? (WHERE IS THE JUNGLE?) (Iván Castiñeiras Gallego, France/Portugal/Brazil, 2015)

Screening commented by the directors and 

Álvaro Domingues | researcher in Human Geography (pt)

20:30 bus: Praça da Figueira – venue for screening  (with an imaginary guided tour)

21:00 Azinhaga do Serrado (Carnide) | total: 85’

Open-air film screening 
LOS BARCOS (THE BOATS) (Dominga Sotomayor, Chile/Portugal, 2016) |24’
FUERA DE CUADRO (OUTSIDE THE FRAME) (Mário Laranjeira, Portugal/Argentina, 2010) |10’
MAURO EM CAIENA (MAURO IN CAIENA) (Leonardo Mouramateus, Brazil, 2012) |18’
OÙ EST LA JUNGLE? (WHERE IS THE JUNGLE?) (Iván Castiñeiras Gallego, France/Portugal/Brazil, 2015) |33’

At the heart of this session is the encounter between the questions of territory and representation. In Los Barcos, we have Lisbon seen through the eyes of a tourist (an Argentinean actress who comes to Lisbon to present a film at a festival), looking for the cliché in unexpected and peripheral spaces. In Fuera de Cuadro, the relationship between mother and son is described through the pictures that she paints and in which he remains on the outside, in what ends up being an exercise that confuses being outside the frame of the picture with being off camera in the cinematic sense. Mauro em Caiena follows the transformation of the space through the eyes and games of a child and Où est la jungle, a film that is itself an offshoot, lays its emphasis on the question of displacement, drawing attention to the problem of the contemporary place of the Amazonian Indians. In all of them, the gaze (including the cinematic one) is what brings about the transformation.

10 September, Sunday

18:00 Arquivo Municipal de Lisboa - Video Library

ELDORADO XXI (Salomé Lamas, Portugal/France/Peru, 2016)
Screening commented by
Salomé Lamas | filmmaker (pt)
Raquel da Silva | production manager (pt)
António Pinto Ribeiro | cultural programmer, programming cordinator of Lisboa, Capital Ibero-americana de Cultura (pt)
André Cepeda | photographer (pt)

21:00 bus: AML-Video Library – venue for screening  (with an imaginary guided tour)

21:30 Parque Tejo – Skating Rink (Parque das Nações)

Open-air film screening 
ELDORADO XXI (Salomé Lamas, Portugal/France/Peru, 2016) | 125’

Despite accompanying the community that lives at the world’s highest inhabited location, in La Rinconada y Cerro Lunar, in the Peruvian Andes, Eldorado XXI is an underground film. It is a kind of essay about what lies most deeply hidden and forgotten in our contemporary world and which, nonetheless, sustains what takes place on the surface – and, for this very reason, it is the last film in this programme, neatly summarising the movements of this South that we have been exploring. Men and women looking for gold on the mountain slopes describe this region as "no man’s land” – making it impossible not to see this film as a continuation of Salomé Lamas’ previous film, which had this very phrase as its title. The voices in the film describe fear and the imminence of  death, death and fear that  take on a definitive shape and image, establishing themselves in a simultaneously terrifying and fantastic presence that spreads across the whole film only to appear at the end violently imprisoned in that mountain, and amounting to nothing more than a breath of air blown through a dark opening in the snow-covered mountain slopes.



AGENDA