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CICLO DE CINEMA | 1º Encontro de Projeto e Ciências Sociais

20 — 22 October

Free Entry

20.10 -
21h / 9pm

Portugal, 2007 | 120′ | Video | Color, B&W

Created on the initiative of the architect Nuno Portas as Secretary of State for Housing and Urbanism in the 1st Provisional Government, the Local Ambulatory Support Service (SAAL) was a programme of assistance for housing construction promoted by Residents’ Associations that aimed to “support the initiatives of poorly housed populations to collaborate in the reconversion of their own neighbourhoods by investing their latent and possibly monetary resources”. A Arquitectura Portuguesa do 25 de Abril is the SAAL – a unique movement in the history of architectural thought, which served as an example and discussion for many other projects internationally.
Written, Directed and Edited by: João Dias
Production: OPTEC, Optical Technical Society

21.10 -
21h / 9pm

Portugal, 2018 | 50′ | Video | Color

The unique life story of Adérito Montes, Roma, mediator and adventurer intersects with the recent history of Portugal, between the 1950s and today. Produced and directed collaboratively, the film is the story of a trip between the Alentejo hills in the south of the country and the hills of Lisbon. A story of love, adventures, and struggle for citizenship rights.
Direction: Filipe Reis, Filipe Ferraz, Adérito e Antónia Montes


Portugal, 2011 | 83′ | Video | Color, B&W

In 1975, Thomas Harlan’s crew filmed Torre Bela’s homestead occupation, in the center of Portugal. Three decades later, RED LINE revisits this emblematic film of the Portuguese revolutionary period: in which way did Harlan interfered in the events that seems to naturally develop in front of the camera? What was the impact of the film on the lives of the occupants and the memory of that period?
Direction: José Filipe Costa
22.10 -
17h / 5pm

Art Collective (Brazil) | 30’

OPAVIVARÁ! is an art collective from Rio de Janeiro, which develops actions in public spaces of the city, galleries and cultural institutions, proposing inversions in the use of urban space, through the creation of relational devices that provide collective experiences. Since its creation in 2005, the group has been actively participating in the Brazilian contemporary art scene.


Chris Marker and Alain Resnais, 1953 | 30’

LES STATUES MEURENT AUSSI is a cinematic essay that aims to highlight colonial prepotency and the humiliation of the culture of the other, through the institutional silencing of its most representative and foundational art objects. (…) The objects of African art, which are paraded before the spectator in the initial sequences of the film, in which the ethnological explanation alternates with the aesthetic interpretation, as they are expurgated from their sociocultural context and locked up in the showcases of Western museums, as they undergo a desecration, the mortification of the millennial aura that surrounds them. The black-African piece of sculpture is the synecdoche of a spirit repressed and silenced by the totalitarian version of Western history, of a culture consigned to the obscurantism of oblivion, to the simplification and banalisation of its material and conceptual forms by European colonial domination and by the proclaimed supremacy of Western civilisation. (excerpts from Joaquim Pedro Marques Pinto, Buala 2015)
Direction: Ghislain Cloquet, Chris Marker and Alain Resnais

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