{"id":26121,"date":"2017-09-13T12:53:29","date_gmt":"2017-09-13T10:53:29","guid":{"rendered":"https:\/\/www.nihrff.de\/filme-2017-obscure-light\/"},"modified":"2024-07-19T14:17:00","modified_gmt":"2024-07-19T12:17:00","slug":"films-2017-obscure-light","status":"publish","type":"post","link":"https:\/\/www.nihrff.de\/en\/films-2017-obscure-light\/","title":{"rendered":"Obscure Light"},"content":{"rendered":"
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Obscure Light<\/h3>\n\n\n\n

Luz Obscura<\/h4>\n\n\n\n
DIRECTOR: <\/strong>Susana de Sousa Dias   COUNTRY: <\/strong>Portugal   YEAR: <\/strong>2017   LANGUAGE(S): <\/strong>Portugese   SUBTITLES: <\/strong>German, English   RUNNING TIME: <\/strong>76 min  <\/div>\n\n\n\n

SECTION: <\/strong>International Competition 2017<\/a><\/p>\n\n\n\n\n\n\n\n

SCREENINGS <\/strong><\/p>\n\n\n\n

Sunday, 01.10., 5.45 p.m., kommkino, Q&A with Susana de Sousa Dias and Ansgar Sch\u00e4fer
Wednesday, 04.10., 7.15 p.m., kinoeins<\/p>\n\n\n\n

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SYNOPSIS<\/strong><\/p>\n\n\n\n

Drawing on identity photos taken by the Portuguese political police during the dictatorship, Susana de Sousa Dias continues the work she began fifteen years ago on the possibility of representing a repressed history and giving an account of the torture now erased. One of the photos stands out for its departure from the judicial protocol. A mother is holding her baby on her knees. Her face, a three-quarters face shot as opposed to the regulatory front-facing shot, is blurred by movement and half-hidden by the child. This subjective punctum <\/em>on an official document harbours the central question of the film with its sound-track of testimonies from those close to an assassinated communist activist: how does authoritarianism worm its way into family intimacy?
The methods of the PIDE were typically grounded in Salazar\u2019s values: as the family prevailed over the citizen in society, Alvaro, Rui and Isabel, Octavio Pato\u2019s children, were also photographed as prisoners in the prison yard or the visiting room. Born of different mothers, they did not meet until late in their childhood; one of them only \u201crealised that [his] father existed\u201d at the age of 9, another \u201cnever saw his lower body\u201d during the prison visits; Isabel only got to know her mother as a teenager. As other figures emerge from the shadows and state archives ironically remedy the lack of family photos, the filmmaker finds a form that recreates as accurately as possible a family identity that has been fractured genealogically, historically and physically. (Charlotte Garson, Cin\u00e9ma du r\u00e9el<\/em>)<\/p>\n\n\n\n

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