Cinema Independente Americano

FLAD’s first edition of Outsiders – American Independent Cinema aims to highlight independent American films. A co-production between Cine-Clube da Ilha Terceira and FLAD, Outsiders features a selection of films by independent directors, produced in the USA between 2010 and 2019, some of which have won awards but have never been screened in Portugal before.

The 11 films involve low-cost budgets, digital video recording, or improvised dialogues, offering a different look at the contemporary life of American young adults.

Schedule

Praia da Vitória — Auditório do Ramo Grande


Opening session
31/03 Thu
21h00
Lena Dunham, 2010, 98'

01/04 Fri
21h00
Robert Greene, 2014, 86'

02/04 Sat
18h30
Frank V. Ross, 2010, 85'
02/04 Sat
21h00
John Magary, 2014, 111'

03/04 Sun
18h30
Patrick Wang, 2011, 169'

Angra do Heroísmo — Centro Cultural e de Congressos


Opening session
07/04 Thu
21h00
Chloe Zhao, 2017, 104'

08/04 Fri
21h00
Eliza Hittman, 2013, 82’

09/04 Sat
18h30
Bill Ross IV, Turner Ross, 2012, 80'
09/04 Sat
21h00

Joe Swanberg, 2012, 79’


10/04 Sun
18h30
Peter Parlow, 2019, 76'
10/04 Sun
21h00
Amy Seimetz, 2012, 90'

From No Budget
to Netflix

Masterclass

7 Dez, 17h

Grande Auditório
Faculdade de Belas-Artes, Universidade de Lisboa

Saber Mais
Joe
Swanberg

Free Entrance

Upon withdrawal of a ticket 30 minutes before the start of the session. Capacity limited to the capacity of the room.

Movies

TINY FURNITURE
Fiction, 2010, 98’


ACTRESS
Documentary, 2014, 86’


AUDREY THE TRAINWRECK
Fiction, 2010, 85’


THE MEND
Fiction, 2014, 111’


IN THE FAMILY
Fiction, 2011, 169’


THE RIDER
Fiction, 2017, 104’


IT FELT LIKE LOVE
Fiction, 2013, 82’


TCHOUPITOULAS
Documentary, 2012, 80’


ALL THE LIGHT IN THE SKY
Fiction, 2012, 79’


THE PLAGIARISTS
Fiction, 2019, 76’


SUN DON’T SHINE
Fiction, 2012, 90’


"The outsiders are there, ready to conquer the place they have long been owed."

By Carlos Nogueira, Programmer

At first glance, an independent film would be the opposite of a Hollywood film. To put it simply, while the latter involves huge budgets, the former costs relatively little; one is essentially entertainment, the other seeks to challenge the spectator; one avoids taking sides in politically sensitive matters, the other is often explicitly critical; one resorts to stereotypical formulas, the other seeks to transmit a personalized point of view. In other words, an independent filmmaker would be, by choice, an outsider (as opposed to a Hollywood insider), in order to maintain creative freedom. In reality, things are much more complicated… What about the great Hollywood directors, past and present, who were able to transmit their world view in spite of the industrial machine, or even because of it? Or independent filmmakers who challenged the indie format, or those who didn’t resist the call of the studios? The independent production system can provide those with the wherewithal to take advantage of them, with greater guarantees for making a personal film without needing to make concessions, and for maintaining control of their work, whether in the production phase or the distribution and exhibition phases. The task is not necessarily easy, and requires an enormous dose of perseverance, but the truth is, that we have rarely seen such a large proliferation of creativity in the field of independent film, once an excessively thankless job, as we do today.

The history of independent film in the United States is almost as old as film itself. In fact, even though today “independent film” is practically defined as the antithesis of Hollywood, few are aware that Hollywood was born as a rebellion of the “independents” against the Motion Picture Patents Company, or the “Edison Trust”, which held the patents to the raw material. However, in a little over a decade, the companies which had moved to the West coast in order to dedicate themselves to production far from the purview of the MPPC, had cobbled together their own production, distribution and exhibition system, which would go down in history as “the studio system”, and which would replace the Edison monopoly with the Hollywood oligopoly. The studio system and its complicated, but extremely controlled, structure dominated the American film industry for more than three decades, leaving little or no space for independent production. However, beginning in the 50s, following the famous anti-trust legal decision, which forced studios to abandon the showing of films, the door was opened to the arrival of independent production. In the 60s, the first, more or less informal, “movements” or groups of films considered alternatives to “commercial films” appeared. John Cassavetes, on the one hand, and Roger Corman on the other, were some of the figures which fostered American independent film during that time. Modern American independent film has been around since about the mid-80s, in large part thanks to the trend imprinted by the Sundance Festival, and it arose with an explicit intention to rebel against the dominant film model.

As the directors of this first indie wave, closely connected to the cultural fringes of New York, went down diverging paths, including Hollywood (the Coen brothers and Steven Soderbergh), various fringe circuits (John Waters and Sara Driver), and the cinematic essay (Mark Rappaport), a wave of “artisan” film was taking shape: Richard Linklater, Alexander Rockwell, Wes Anderson. It was the beginning of the 90s, and new creative hubs appeared (Austin, Boston), as well as new festivals, which served as launching pads. At the turn of the millennium, advances in technology played a substantial role in the resurgence of independent film. The availability of digital cameras at accessible prices ushered in a true cultural revolution: for the first time in its history, the Seventh Art was within reach of any average grant, and had a truly competitive quality; it was possible to make a feature-length film in your backyard, with friends or fellow students, for very little money. And even better than that, the Internet would open up a completely new distribution circuit for these works. Therefore, the third indie wave, during the 2000s, grabbed these new opportunities eagerly, enthusiastically and creatively. It maintains a large part of the traits that characterized their elders (though it adds its own — narratives around post-graduate young adult anxiety, using non-professional actors and an almost always improvised dialogue), yet often revises itself as the heir to the do legacy, and embodies a variety which resists, as did the previous ones, being classified as a “movement”.

This artistic diversity had a very notable corresponding diversity of reception. While it is true that many filmmakers, whether identified by the label “mumblecore” or not, achieved a certain notoriety within indie circuits, many others were not so lucky, even in the United States. Alternative programming in Portugal has not been especially attentive; it has almost always been limited to following a certain international tendency. It ́s true that Andrew Bujalski and the Safdie brothers were screened regularly, but there are many other important names from this indie wave that escaped programming radar. Lena Dunham owes her reputation here to the series Girls: none of the films she directed were shown in Portugal. Only one film by Joe Swanberg, one of the biggest names in mumblecore, and one of the most prolific contemporary filmmakers (20 features in less than 15 years), was ever screened. The first features by Eliza Hittman and Amy Seimetz never had a national premiere. It took the Oscar for Chloe Zhao to become known here. Filmmakers as important as Frank V. Ross, Patrick Wang and Bill and Turner Ross are totally unknown. And a large portion of Robert Greene ́s work remains invisible… Therefore, the work of disseminating this generation of independent filmmakers remains, in great part, undone. For the first time in Portugal, the screening of this group of works allows us to fill in the gaps, build bridges and find lost connections. The outsiders are here, ready to conquer their place, which has been owed to them for a long time now.

Useful Information

Auditório do Ramo Grande
Rua Serpa Pinto 70,
Praia da Vitória

Centro Cultural e de Congressos
Canada Nova, S/N,
Angra do Heroísmo

Tickets
Free Entrance
Upon ticket pick-up.
Capacity limited to the capacity of the room.

Contacts

Press:
Nuno Martins – nuno.martins@flad.pt

Inês Braizinha – ines.braizinha@flad.pt

Other Informations:
media.cultura@flad.pt

Sessions for M/14

  • Films subtitled in Portuguese
  • No reserved seats
  • Program subject to changes
  • The use of a mask is mandatory inside the cinema
  • The Auditorium of Ramo Grande and the Cultural and Congress Center of Angra do Heroísmo operate according to the recommendations of the General Directorate of Health

Exhibition Credits

Programmer

Carlos Nogueira

Production Coordination

Vítor Alves Brotas | Agency 25

Production

Clélia Luiz, Filipa da Rocha Nunes, Rui Vallêra

Communication Coordination

Inês Lampreia, Liliana Valpaços

Communication

Inês Braizinha, Mariana Nunes, Nuno Martins

Press

Nuno Martins, Inês Braizinha

Graphic Identity

atelier-do-ver

Communications Design, Web Design e Video

WSA Creative Agency

Translation

Elsa Vieira

Photography

Edgardo Vieira

Acknowledgment

António Pinto Ribeiro

CINE-CLUBE DA ILHA TERCEIRA

Director
Jorge A. Paulus Bruno – Presidente

Secretariat
Melânia Pereira

Treasury
Diogo Ferreira

Vogal
Rogério Sousa, Filipe Leite

AUDITORIUM RAMO GRANDE

Director
Paula Sousa
Vereadora da Cultura e Presidente da Cooperativa Praia Cultural

Secretary of the Councilwoman
Lídia Godinho

Coordinator of the Department of Production and Communication
Evandro Machado

CENTRO CULTURAL E DE CONGRESSOS DE ANGRA DO HEROÍSMO

Vice-Mayor of Angra do Heroísmo
Guido Teles

Head of Division of the Culture and Social Support Unit
Pedro Oliveira

Projectionists
Fernando Alves, Samuel Jesus

Show Technicians
Jorge Silva, Samuel Jesus, Fernando Alves

Communication Office
Ruben Ramos, Miguel Gregório

Responsible Film Programming Technique
Carina Fortuna

Ticket Technicians
Samuel Castro

Maintenence
Câmara Municipal de Angra do Heroísmo

Production Assistants
Marta Meneses, José Esteves

Responsible Technician
João Pedro Santos

Coordinator of the Department of Logistics and Artistic Projects
Vasco Lima

Projectionist
Paulo Martins

Comunicação e Multimédia
Bárbara Barcelos

Administrative and Financial Coordination
Rodrigo Azevedo

TicketIng Coordination
Carlos Maciel

Maintenence
José Manuel Borges

Programmer

Carlos Nogueira

Production Coordination

Vítor Alves Brotas | Agency 25

Production

Clélia Luiz, Filipa da Rocha Nunes, Rui Vallêra

Communication Coordination

Inês Lampreia, Liliana Valpaços

Communication

Inês Braizinha, Mariana Nunes, Nuno Martins

Press

Nuno Martins, Inês Braizinha

Graphic Identity

atelier-do-ver

Communications Design, Web Design e Video

WSA Creative Agency

Translation

Elsa Vieira

Photography

Edgardo Vieira

Thanks

António Pinto Ribeiro

CINE-CLUBE DA ILHA TERCEIRA

Director
Jorge A. Paulus Bruno – Presidente

Secretariat
Melânia Pereira

Treasury
Diogo Ferreira

Vogal
Rogério Sousa, Filipe Leite

AUDITORIUM RAMO GRANDE

Director
Paula Sousa
Vereadora da Cultura e Presidente da Cooperativa Praia Cultural

Secretary of the Councilwoman
Lídia Godinho

Coordinator of the Department of Production and Communication
Evandro Machado

CENTRO CULTURAL E DE CONGRESSOS DE ANGRA DO HEROÍSMO

Vice-Mayor of Angra do Heroísmo
Guido Teles

Head of Division of the Culture and Social Support Unit
Pedro Oliveira

Projectionists
Fernando Alves, Samuel Jesus

Show Technicians
Jorge Silva, Samuel Jesus, Fernando Alves

Communication Office
Ruben Ramos, Miguel Gregório

Responsible Film Programming Technique
Carina Fortuna

Ticket Technicians
Samuel Castro

Maintenence
Câmara Municipal de Angra do Heroísmo

Production Assistants
Marta Meneses, José Esteves

Responsible Technician
João Pedro Santos

Coordinator of the Department of Logistics and Artistic Projects
Vasco Lima

Projectionist
Paulo Martins

Comunicação e Multimédia
Bárbara Barcelos

Administrative and Financial Coordination
Rodrigo Azevedo

TicketIng Coordination
Carlos Maciel

Maintenence
José Manuel Borges

Co-Production

Partners

Media Partners

Communication Support