{"id":100771,"date":"2021-11-12T15:03:42","date_gmt":"2021-11-12T15:03:42","guid":{"rendered":"https:\/\/www.flad.pt\/outsiders-american-independent-cinema\/"},"modified":"2023-02-06T21:49:21","modified_gmt":"2023-02-06T21:49:21","slug":"outsiders-azores-22","status":"publish","type":"page","link":"https:\/\/www.flad.pt\/en\/outsiders-azores-22\/","title":{"rendered":"Outsiders \u2013 American Independent Cinema Azores 22"},"content":{"rendered":"

[vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ back_color=”color-xsdn” overlay_alpha=”50″ gutter_size=”0″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ desktop_visibility=”yes” medium_visibility=”yes” mobile_visibility=”yes” css=”.vc_custom_1637234317240{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 0px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;}” el_class=”submenu-ciencia”][vc_column column_width_percent=”100″ position_vertical=”middle” align_horizontal=”align_center” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″][vc_button button_color=”color-jevc” size=”btn-link” border_width=”0″ el_class=”submenu-ciencia-btn” link=”url:%23programacao”]Schedule[\/vc_button][vc_button button_color=”color-jevc” size=”btn-link” border_width=”0″ el_class=”submenu-ciencia-btn” link=”url:%23editorial”]Editorial[\/vc_button][vc_button button_color=”color-jevc” size=”btn-link” border_width=”0″ el_class=”submenu-ciencia-btn” link=”url:%23filmes”]Movies[\/vc_button][vc_button button_color=”color-jevc” size=”btn-link” border_width=”0″ el_class=”submenu-ciencia-btn” link=”url:%23informacoes-uteis”]Useful Information[\/vc_button][vc_button button_color=”color-jevc” size=”btn-link” border_width=”0″ el_class=”submenu-ciencia-btn” link=”url:%23ficha-tecnica”]Exhibition Credits[\/vc_button][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”5″ bottom_padding=”5″ back_color=”color-xsdn” overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ row_name=”intro”][vc_column column_width_percent=”100″ gutter_size=”2″ font_family=”font-596618″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ gutter_size=”4″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner width=”1\/2″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″]Cinema Independente Americano[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”right” align_horizontal=”align_right” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″][vc_single_image media=”98742″ media_width_use_pixel=”yes” alignment=”right” media_width_pixel=”200″][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=”2″][vc_column_text]FLAD\u2019s first edition of Outsiders \u2013 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.<\/span><\/p>\n

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.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”5″ bottom_padding=”5″ back_color=”color-160507″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ row_name=”programacao”][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”bottom-t-top” width=”1\/1″][vc_row_inner limit_content=””][vc_column_inner column_width_use_pixel=”yes” align_horizontal=”align_center” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ column_width_pixel=”700″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″ sub_lead=”yes”]Schedule[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=”2″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″ sub_lead=”yes”]<\/p>\n

Praia da Vito\u0301ria \u2014 <\/span>Audit\u00f3rio do Ramo Grande<\/span><\/p>\n

[\/vc_custom_heading][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]Opening session
\n31\/03 Thu[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_space=”fontspace-781688″ text_color=”color-757855″]TINY FURNITURE<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Lena Dunham, 2010, 98′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]01\/04 Fri[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_color=”color-757855″]Actress<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Robert Greene, 2014, 86′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_color=”color-142668″]02\/04 Sat[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]18h30[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]Audrey the Trainwreck<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Frank V. Ross, 2010, 85′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]02\/04 Sat[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]The Mend<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]John Magary, 2014, 111′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]03\/04 Sun[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]18h30[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]In The Family<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Patrick Wang, 2011, 169′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″ sub_lead=”yes”]<\/p>\n

Angra do Hero\u00edsmo \u2014 <\/span>Centro Cultural e de Congressos<\/span><\/p>\n

[\/vc_custom_heading][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]Opening session
\n07\/04 Thu[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]The Rider<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Chloe Zhao, 2017, 104′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]08\/04 Fri[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]It Felt Like Love<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Eliza Hittman, 2013, 82\u2019[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]09\/04 Sat[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]18h30[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]Tchoupitoulas<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Bill Ross IV, Turner Ross, 2012, 80′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]09\/04 Sat[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]All The Light In The Sky<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]<\/p>\n

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Joe Swanberg, 2012, 79\u2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]10\/04 Sun[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]18h30[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]The Plagiarists<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Peter Parlow, 2019, 76′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”2″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”4″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-142668″]10\/04 Sun[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”1″ align_mobile=”align_right_mobile” mobile_width=”4″ width=”1\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-334370″]21h00[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”3″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”2\/6″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h5″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-757855″]Sun Don’t Shine<\/a>[\/vc_custom_heading][\/vc_column_inner][vc_column_inner column_width_percent=”100″ position_horizontal=”left” position_vertical=”middle” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ align_medium=”align_left_tablet” medium_width=”2″ align_mobile=”align_left_mobile” mobile_width=”7″ width=”1\/4″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h6″ text_space=”fontspace-781688″ text_color=”color-757855″]Amy Seimetz, 2012, 90′[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=”color-rgdb” type=”dotted” el_width=”100%” el_height=”2px”][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”5″ bottom_padding=”5″ back_color=”color-334370″ overlay_alpha=”100″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ desktop_visibility=”yes” medium_visibility=”yes” mobile_visibility=”yes” inverted_device_order=”yes” auto_height_device=”yes”][vc_column column_width_use_pixel=”yes” position_horizontal=”left” gutter_size=”3″ style=”dark” overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”2\/3″ column_width_pixel=”900″][vc_custom_heading heading_semantic=”h3″ text_font=”font-596618″ text_size=”fontsize-611418″ text_height=”fontheight-179065″ text_color=”color-757855″]From No Budget
\nto Netflix[\/vc_custom_heading][vc_custom_heading heading_semantic=”h3″ text_font=”font-596618″ text_size=”h1″ text_height=”fontheight-179065″ text_color=”color-xsdn”]Masterclass[\/vc_custom_heading][vc_custom_heading heading_semantic=”h3″ text_font=”font-596618″ text_size=”h4″ text_transform=”uppercase” text_height=”fontheight-179065″ text_color=”color-xsdn”]7 Dez, 17h[\/vc_custom_heading][vc_custom_heading heading_semantic=”h3″ text_font=”font-596618″ text_size=”h6″ text_transform=”uppercase” text_height=”fontheight-357766″ text_color=”color-xsdn”]Grande Audit\u00f3rio
\nFaculdade de Belas-Artes, Universidade de Lisboa[\/vc_custom_heading][vc_button size=”btn-lg” custom_typo=”yes” font_family=”font-596618″ font_weight=”100″ text_transform=”uppercase” letter_spacing=”fontspace-781688″ border_width=”0″ link=”url:https%3A%2F%2Fwww.flad.pt%2Foutsiders%2Fjoe-swanberg%2F”]Saber Mais[\/vc_button][\/vc_column][vc_column column_width_percent=”100″ position_horizontal=”right” align_horizontal=”align_right” gutter_size=”2″ style=”dark” overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/3″][vc_single_image media=”99991″ media_width_percent=”100″][vc_custom_heading heading_semantic=”h6″ text_font=”font-596618″ text_size=”h1″ text_transform=”uppercase” text_space=”fontspace-781688″ text_color=”color-xsdn”]Joe
\nSwanberg[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”4″ bottom_padding=”4″ back_color=”color-142668″ overlay_alpha=”100″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″][vc_column column_width_use_pixel=”yes” position_vertical=”middle” align_horizontal=”align_center” gutter_size=”3″ style=”dark” overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”1\/1″ column_width_pixel=”900″][vc_custom_heading heading_semantic=”h5″ text_font=”font-596618″ text_size=”h1″ text_height=”fontheight-357766″]<\/p>\n

Free Entrance<\/span><\/h2>\n

[\/vc_custom_heading][vc_empty_space empty_h=”1″][vc_custom_heading heading_semantic=”p” text_font=”font-596618″ text_size=”h3″ text_height=”fontheight-357766″]<\/p>\n

Upon withdrawal of a ticket 30 minutes before the start of the session. Capacity limited to the capacity of the room.<\/p>\n

[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=”yes” row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”5″ bottom_padding=”3″ back_color=”color-xsdn” overlay_alpha=”50″ gutter_size=”4″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ row_name=”filmes”][vc_column column_width_percent=”100″ align_horizontal=”align_center” gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″]Movies[\/vc_custom_heading][vc_empty_space empty_h=”2″][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”3″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98606″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Ftiny-furniture%2F”][vc_column_text]TINY FURNITURE<\/span>
\nFiction, 2010, 98\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98629″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Factress%2F”][vc_column_text]ACTRESS<\/span>
\nDocumentary, 2014, 86\u2019
\n<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”99023″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Faudrey-the-trainwreck%2F”][vc_column_text]AUDREY THE TRAINWRECK<\/span>
\nFiction, 2010, 85\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”99001″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fthe-mend%2F”][vc_column_text]THE MEND<\/span>
\nFiction, 2014, 111\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”3″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98912″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fin-the-family%2F”][vc_column_text]IN THE FAMILY<\/span>
\nFiction, 2011, 169\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”99064″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fthe-rider%2F”][vc_column_text]THE RIDER<\/span>
\nFiction, 2017, 104\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98631″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fit-felt-like-love%2F”][vc_column_text]IT FELT LIKE LOVE <\/span>
\nFiction, 2013, 82\u2019
\n<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98993″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Ftchoupitoulas%2F”][vc_column_text]TCHOUPITOULAS<\/span>
\nDocumentary, 2012, 80\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”3″ shift_y=”0″ z_index=”0″ limit_content=””][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”99034″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fall-the-light-in-the-sky%2F”][vc_column_text]ALL THE LIGHT IN THE SKY<\/span>
\nFiction, 2012, 79\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”99054″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fthe-plagiarists%2F”][vc_column_text]THE PLAGIARISTS<\/span>
\nFiction, 2019, 76\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/4″][vc_single_image media=”98920″ media_width_percent=”100″ media_ratio=”sixteen-nine” advanced=”yes” media_items=”media|original,icon|lg” media_overlay_color=”color-334370″ media_overlay_opacity=”80″ media_image_color_anim=”yes” media_h_align=”center” media_padding=”2″ media_icon=”fa fa-plus2″ media_link=”url:https%3A%2F%2Fwww.flad.pt%2Fen%2Foutsiders%2Fsun-dont-shine%2F”][vc_column_text]SUN DON’T SHINE<\/span>
\nFiction, 2012, 90\u2019<\/span>[\/vc_column_text][vc_separator sep_color=”color-334370″ type=”dotted” css_animation=”left-t-right” animation_speed=”200″ el_width=”100%” el_height=”2px”][vc_empty_space empty_h=”2″][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”5″ bottom_padding=”5″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ row_name=”intro”][vc_column column_width_percent=”100″ gutter_size=”2″ font_family=”font-596618″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/1″][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″]”The outsiders <\/em>are there, ready to conquer the place they have long been owed.”[\/vc_custom_heading][vc_column_text text_lead=”small”]By Carlos Nogueira, Programmer<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=”2″][vc_accordion typography=”yes” sign=”plus” active_tab=”0″ el_class=”accordion-outsiders”][vc_accordion_tab gutter_size=”2″ column_padding=”2″ title=”More” tab_id=”1636724449-1-77″][vc_column_text text_lead=”small”]<\/p>\n

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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. <\/span><\/p>\n

The history of independent film in the United States is almost as old as film itself. In fact, even though today \u201cindependent film\u201d is practically defined as the antithesis of Hollywood, few are aware that Hollywood was born as a rebellion of the \u201cindependents\u201d against the Motion Picture Patents Company, or the \u201cEdison Trust\u201d, 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 \u201cthe studio system\u201d, 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, \u201cmovements\u201d or groups of films considered alternatives to \u201ccommercial films\u201d 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. <\/span><\/p>\n

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As the directors of this first indie<\/em> 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 \u201cartisan\u201d 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 \u2014 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 \u201cmovement\u201d. <\/span><\/p>\n

This artistic diversity had a very notable corresponding diversity of reception. While it is true that many filmmakers, whether identified by the label \u201cmumblecore\u201d 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 \u0301s 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 \u0301s 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. <\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_accordion_tab][\/vc_accordion][\/vc_column][\/vc_row][vc_row unlock_row_content=”yes” row_height_percent=”0″ override_padding=”yes” h_padding=”0″ top_padding=”3″ bottom_padding=”1″ back_color=”color-160507″ overlay_alpha=”50″ equal_height=”yes” gutter_size=”0″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ css=”.vc_custom_1635958583348{border-top-width: 0px !important;}” row_name=”info”][vc_column column_width_percent=”100″ align_horizontal=”align_center” gutter_size=”4″ override_padding=”yes” column_padding=”2″ overlay_alpha=”50″ border_color=”color-rgdb” border_style=”solid” shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”1\/1″ css=”.vc_custom_1597828752979{border-right-width: 1px !important;}”][vc_custom_heading text_font=”font-596618″ text_space=”fontspace-111509″ text_color=”color-757855″]Useful Information[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row unlock_row_content=”yes” row_height_percent=”0″ override_padding=”yes” h_padding=”3″ top_padding=”0″ bottom_padding=”3″ back_color=”color-160507″ overlay_alpha=”10″ equal_height=”yes” gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ css=”.vc_custom_1636542605807{border-top-width: 0px !important;}” row_name=”Apoios”][vc_column column_width_percent=”100″ gutter_size=”4″ overlay_alpha=”50″ border_color=”color-rgdb” border_style=”solid” shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”1\/4″][vc_column_text text_lead=”small” el_class=”margin-top-0″]Audit\u00f3rio do Ramo Grande<\/strong><\/span>
\nRua Serpa Pinto 70, <\/span>
\nPraia da Vit\u00f3ria <\/span><\/p>\n

Centro Cultural e de Congressos<\/strong><\/span>
\nCanada Nova, S\/N, <\/span>
\nAngra do Hero\u00edsmo<\/span>
\n[\/vc_column_text][\/vc_column][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”1\/4″][vc_column_text text_lead=”small” el_class=”margin-top-0″]Tickets<\/strong><\/span>
\nFree Entrance <\/span>
\nUpon ticket pick-up.<\/strong><\/span>
\nCapacity limited to the capacity of the room.<\/strong><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/4″][vc_column_text text_lead=”small” el_class=”margin-top-0″]Contacts<\/strong><\/span><\/p>\n

Press:
\nNuno Martins – nuno.martins@flad.pt<\/a><\/span><\/p>\n

In\u00eas Braizinha – ines.braizinha@flad.pt<\/a><\/span><\/p>\n

Other Informations:
\nmedia.cultura@flad.pt<\/a><\/span><\/p>\n

[\/vc_column_text][\/vc_column][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ css_animation=”alpha-anim” animation_delay=”200″ width=”1\/4″ el_class=”text-small”][vc_column_text text_lead=”small” el_class=”margin-top-0″]Sessions for M\/14<\/strong><\/span>[\/vc_column_text][uncode_list icon=”fa fa-ellipsis-v” icon_color=”color-142668″ el_class=”text-small”]<\/p>\n