With the aim of exploring, appreciating and promoting portuguese film heritage, Batalha commissions an annual programme entirely dedicated to its cinema and its history. The selection of films is broad but incisive, composed of both established and lesser known filmmakers, ever fundamental for a complete consideration of Portuguese cinema.
The first edition of Seleção Nacional will focus on political, aesthetic and social developments in Portuguese cinema. Presented in four constellations, the selection relocates film in dialogue around specific themes, opening a new way of looking at these works, the times they were made in, and their artistic impact.
Constellation #3: Brandos Costumes, presented between September and December, aims to reflect on one of the foundations of the Salazarist national identity: the supposed mildness and non-violence of the Portuguese. Before and after the revolution, several films denounced the contradictions of this commonplace, exposing the natural violence and the different ways of life of the community.
Curated by Daniel Ribas and Paulo Cunha
Programme developed with the support of Cinemateca Portuguesa - Museu do Cinema
O Delfim, Fernando Lopes, 2002
–
With the aim of exploring, appreciating and promoting portuguese film heritage, Batalha commissions an annual programme entirely dedicated to its cinema and its history. The selection of films is broad but incisive, composed of both established and lesser known filmmakers, ever fundamental for a complete consideration of Portuguese cinema.
The first edition of Seleção Nacional will focus on political, aesthetic and social developments in Portuguese cinema. Presented in four constellations, the selection relocates film in dialogue around specific themes, opening a new way of looking at these works, the times they were made in, and their artistic impact.
Constellation #3: Brandos Costumes, presented between September and December, aims to reflect on one of the foundations of the Salazarist national identity: the supposed mildness and non-violence of the Portuguese. Before and after the revolution, several films denounced the contradictions of this commonplace, exposing the natural violence and the different ways of life of the community.
Curated by Daniel Ribas and Paulo Cunha
Programme developed with the support of Cinemateca Portuguesa - Museu do Cinema
Daniel Ribas
Researcher, programmer and film critic, he is an Assistant Professor at School of Arts, Universidade Católica Portuguesa, where he coordinates the master’s degree in Cinema. He is the Director of CITAR — Research Center for Science and Technology of the Arts. He curated several film programmes, namely for Porto/Post/Doc, where he was a member of the Artistic Direction between 2016 and 2018. He’s currently a programmer at Curtas Vila do Conde IFF. Ph.D. in Cultural Studies by the Aveiro and Minho universities, he writes about Portuguese, contemporary and experimental cinema.
Paulo Cunha
Develops work in research, programming and film criticism, he is an Assistant Professor at Universidade da Beira Interior, where he’s the Director for the master’s degree in Cinema, and vice-president for the Department of the Arts. He’s a full member of LabCom — Communication & Arts and a collaborator of CEIS20 — Centre for Interdisciplinary Studies at Universidade de Coimbra and at INCT Proprietas Network. He’s currently programmer for Curtas Vila do Conde and Guimarães Film Club. A Ph.D. in Contemporary Studies at Universidade de Coimbra, he writes about Portuguese film, decolonial studies and film cultures.
Full programme
Constellation #3
Setembro–Novembro
Nojo aos Cães, António de Macedo
Solo, Mariana Gaivão
O Fim do Mundo, João Mário Grilo
O Delfim, Fernando Lopes
Dina e Django, Solveig Nordlund
Setembro, Leonor Noivo
Relatos de uma Rapariga Nada Púdica, Lolo Arziki
A Caça, Manoel de Oliveira
Brandos Costumes, Alberto Seixas Santos
Odete, João Pedro Rodrigues
Noite Escura, João Canijo, 2004
A Idade Maior, Teresa Villaverde, 1991
December
Noite Escura, João Canijo, 2004
A Idade Maior, Teresa Villaverde, 1991
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