The intention is to provoke other ways of seeing a selection of films that are more related to video art and that dialogue with each other by presenting non linear and sequential narratives, by being contemplative or having a more fragmented narrative structure. By proposing this mode of exhibition, we seek to transform the viewer's enjoyment by calling into question the new cinemas: expanded, multiple, hybrid. As well as expanding the thinking about the limitations and potentialities of the cinematic form itself. The films of this cutout are screened for five hours, in a distinct structure of the movie theater. The architectural space is decisive for the expressive and narrative modes, allowing the circulation and mobility of the bodies, the conversation, thelook. The film's continuous exposure device is closer to museum booths, videoart, where the viewer's liberation is essential. The Booths invoke the body andgaze of the viewer who, free to navigate and participate in the investigative exploration of image discovery, can come and go as he/she pleases, buildinghis/her involvement with the work him/herself. The gaze is the body, and is inconstant motion, in an eternal stream of resinifications of spaces, shapes, narratives, allowing choices that will determine different experiences.

A Cabine Urbana exibirá filmes em sessões corridas das 14 às 19 horas no espaço da Galeria de Bolso da Casa da Cultura da América Latina.

De 08 a 11 de Outubro.

OCT 08 


Chile, 2019, 10`40``

A tunnel with more than 100 years of history has been left to the inclemency of nature, leaving a corpse of a time where coal mining connected the coast with the national railway. It is a strange space in a small curve in the center absolute darkness is generated. Recording its imperishable sounds and percussing with machinic devices, the artists generate the opening to new sensations lacking heat and light but full of sounds, in an environment conquered by nature and embraced by time.


Japan, Michael Lyons, 2018, 01`30``

A poetic look at a Porto skylight filmed over three days using three different Super 8 film stocks. One of the stocks is decades-old Kodachrome, hand-developed using coffee and vitamin C.

Là est la Maison /

Here is the House  

France, Lo Thivolle, Victor De Las Heras, 2017, 13`

From without nothing can be seen, Inside everything can be heard, In the distance the paths donarrow, while nearby prospects break open.

OCT 09

I Don't See Deer

Greece, Stella Mastorosteriou,Danai Tombrou, 2018, 06`08``

I Don’t See Deer” is a choreographic study of the interrelations between the body and urban space. Creating ephemeral site-specific images that play with the boundary between the familiar and the unfamiliar, it attempts to highlight an alternative journey in the urban space, discovering more playful ways of being in / thinking about the city.


Italy, SalvatoreInsana, 2019, 13`20``

“Aporia” is the first result of our research on hesitation as psycho-physical condition and as an attitude that opposes the arrogance of always knowing where to go / what to do / what to say. The aporia (πορία), a concept dear to Greek philosophy, indicates the impossibility of giving a precise answer to a problem.


Portugal, Ana Ruivo, Carolina Leal, Cristiano Alves, Esra Arslan, 2019, 6`

Documentary about the life of those who remain in the Porto’s Metro, with the janitors as main characters, which show the Souto de Moura’s architecture with another perspective. 

OCT 10


Argentina, GuillermoMiconi, 2018, 05`35``

In sequences filmed from a near-zenith point of view, nocturnal situations are shown where passers-by and vehicles flow harmoniously and rhythmically. The frames are configured with high tonal contrast and build as photographs but in movement. That's where "Civitas" appears: a state of emptiness, silence, and introspection of individuals trying to inhabit the big capitalist cities.


United States, BillBrown, 2018, 06`18``

Leaving one hometown and looking for the next one.

Cartas a un Gorrión

Colombia, Andrés M. Rojas, Sebastián Motta, 2018, 10`

A city, a street, a historical and social journey framed in the history of one of the first modern streets of Bogotá. A portrait of the forgotten beauty that the social context made lose, diverting the sights, looking down.

OCT 11


Portugal, LucasMartins, 2017, 02`

The breakwater of Fozdo Douro is an organic structure that both connects and separates the Atlantic Ocean and the Douro River. Shaped to challenge the forces of nature and allow human interaction, its concrete forms are constantly shifting in a never-ending dialog between light and shadow. Both an extension and a limit for the city of Porto, where time and memory are reinforced by the brutality and gentleness of the elements, the breakwater of the Foz do Douro is a powerful place to manifest continuity, closure, confrontation and silence.


Turquia, MehmetYavuz Çakar, 2019, 04`

As some people destroy our nature for the sake of money and unearned income, we will forget the smell of the soil after rain. There is now a smell of concrete after rain.


Argentina, Paula,Dreyer, Gabily Anadón, 2017, 03`37``

This production is a tribute to the women who wash her clothes in the public laundries near to the Paraná River in the city of Posadas Misiones, Argentina. This place was a big water tank where a lot off women congregate to wash and meet, now its represents the memory of that.

The Inhabitant

Argentina, Diego Mandelman, 2019, 05`20``

The last inhabitant of a town, flooded and in ruins, takes refuge in his memory and in the memories that still persist in it.

Using Format