The program for the 2020 edition of the Porto/Post/Doc Film Festival is closed. In total there will be more than 60 films that, between November 20th and 29th, will tour the theaters in Porto and the VoD platform that the event will launch, exclusively, for this period. With works from various parts of the world, the festival proposes a diverse calendar adapted to today's needs with national premieres, conversations, interviews with directors, sessions for families and an academy to think about new ways of producing content in partnership with Channel 180.
Portugal, France, South Africa, Laos, Spain, Israel, Brazil, Mexico, Argentina and Iraq are some of the stops proposed by the selection of the International Competition that is announced today. A program made up of nine recent production works that look at social and political issues around the world. Real stories that take us through the Aleixo neighborhood, its demolition and the way its community resists (Our Land, Our Altar, by André Guiomar), the borders between Brazil and Uruguay in the journey of two characters from opposite political specters in search of José Mujica (Departure, of Caco Ciocler) or the agricultural and remote communities of the Argentinean mountains, land in collision between the human and the divine, the ground and the mystic (Piedra Sola, by Alejandro Telémaco Tarraf). Stories in migration that bring us new clues about the emerging relations between Africa and China (Days of Cannibalism, by Teboho Edkins), how the children of a mountain village near Mosul relive a century of Iraq's history to understand its present (Sandlines, The Story of History, by Francis Alÿs), and the vignettes about daily Palestinian life under Israeli occupation (Of Land and Bread, Ehab Tarabieh). Stories composed of affections like those of Xana, France, Hugo and Nadine around Lake Nam Ngumat (Goodbye Mister Wong, by Kiyé Simon Luang), of the surrender to love as proposed in Virgil's Bucolic text (Amor Omnia, by Yohei Yamakado) or of what is revealed in an intimate diary of a woman with a prosperous past (My Mexican Bretzel, Nuria Giménez).
Continuing the work begun in previous editions, PPD again proposes a look at recent Spanish cinema with four recent works: Land Underwater, by Maddi Barber, Lúa vermella, by Lois Patiño, Work Or To Whom Does The World Belong, by Elisa Cepedal and Bendito Machine Saga, by Jossie Malis. Curated by director Eloy Domínguez Serén, a program on Swedish cinema, composed by: The Great Adventure, by Arne Sucksdorff, They Call Us Misfits, by Stefan Jarl and Jan Lindkvist, and A Swedish Love Story, by Roy Andersson. Also new is the partnership with the Spanish festival In-Edit, which here presents three music documentaries: Niños Somos Todos, by Sergi Cameron, Autoluminescent: Rowland S. Howard, by Lynn-Maree Milburn and Richard Lowenstein, and Liberation Day, by Morten Traavik and Ugis Olte. Three panoramic films will be shown at the Planetarium of Porto, the most unusual exhibition site of the festival, inviting the spectator to dive into a journey of sensations. For the families, two morning sessions of the weekend with a program adapted for children over 4 years.
New this year is also the 180 Media Academy, a complementary training program for students and young professionals in the media and audiovisual sector that seeks to explore the new paradigms of contemporary production. Bringing together a group of non-conformist speakers, it will present a program that thinks of new ways of telling stories through other platforms and means of distribution. The program has a face-to-face component, to take place on Saturday, November 21, and will be completed, later online, between November 24 and 27, 2020 with a series of masterclasses, conferences, projections and project development. The 180 Media Academy is the result of a collaboration between the media platform Canal180 and the film festival Porto Post Doc and the complete program can be consulted at: https://academy.180.pt.
The new confirmations join the already announced programs The After City, Transmission, Cinema Novo Competition, Cinema Falado Competition and Highlights. Porto/Post/Doc returns between November 20th and 29th in double format: screenings at Rivoli, Passos Manuel and Planetário do Porto, and a parallel program in VoD at Shift72 platform. The total program of the event will be revealed in the coming weeks.
Porto/Post/Doc is carried out in partnership with the Oporto City Hall, with the support of the Ministry of Culture and the Cinema and Audiovisual Institute and the patronage of the "la Caixa"/BPI Foundation.
INTERNATIONAL COMPETITION SELECTION
Our Land, Our Altar, André Guiomar, Portugal, 2020, DOC, 77'
Amor Omnia, Yohei Yamakado, France, 2019, DOC, 11'
Days of Cannibalism, Teboho Edkins, France, South Africa, Netherlands, 2020, DOC, 78'
Goodbye Mister Wong, Kiyé Simon Luang, Laos, France, 2020, FIC, 106'
My Mexican Bretzel, Nuria Giménez, Spain, 2019, FIC, 72'
Of Land and Bread, Ehab Tarabieh, Israel, 2019, DOC, 89'
Departure, Caco Ciocler, Brazil, 2019, DOC, 93'
Piedra Sola, Alejandro Telémaco Tarraf, Argentina, Mexico, Qatar, United Kingdom, 2020, FIC, 72'
Sandlines, The Story Of History, Francis Alÿs, Iraq, 2019, FIC, 61'
Land Underwater, Maddi Barber, Spain, 2019, DOC, 50'
Lúa Vermella, Lois Patiño, Spain, 2019, FIC, 84'
Work Or To Whom Does The World Belong, Elisa Cepedal, Spain, 2019, DOC, FIC, 65'
Bendito Machine Saga, Jossie Malis, Spain, 2006, 2018, ANI, 54'
CARTE BLANCHE ELOY DOMÍNGUEZ SÉREN SELECTION
Program supported by the Swedish Embassy
The Great Adventure, Arne Sucksdorff, Sweden, 1953, DOC, 91'
They Call Us Misfits, Stefan Jarl, Jan Lindkvist, Sweden, 1968, DOC, 100'
A Swedish Love Story, Roy Andersson, Sweden, 1970, FIC, 115'
CARTE BLANCH IN-EDIT SELECTION
Autoluminescent: Rowland S. Howard, Lynn-Maree Milburn, Richard Lowenstein, Australia, 2011, DOC, 110'
Liberation Day, Morten Traavik, Ugis Olte, Latvia, Norway, 2016, DOC, 100'
Niños Somos Todos, Sergi Cameron, Spain, 2019, DOC, 95'