Festival internacional Signos da Noite - Lisboa
International Festival Signs of the Night - Lisbon

7° Festival internacional Signos da Noite - Lisboa - December 26-31, 2021

19th International Festival Signs of the Night - Portugal


December 31th / 4 pm / 2021 -
January 2nd / 4 pm / 2022



What Comes Next

Wheeler Winston Dixon
USA / 2021 / 0:03:52

“There is no before. There is only now, and what comes next.” – Lauren Oliver l



Lack of Clarity

Stefan Kruse Jørgensen
Denmark / 2020 / 0:22:33

Public light rips through the night of a modern city. Sleeplessness is lit up by a computer monitor in an urban space, where day and night are no longer distinguished. In the contemporary surveillance society, digital evolution and social control indelibly mark the urban fabric in which we move. A nocturnal journey through a strongly lit and populated city as a filmmaker reflects upon the increase of new surveillance technologies around him. The film draws a fragmentary connection between Paris at the end of the 17th century and the potential surveillance of the filmmaker’s own dreams.



After the Riots, Before the Liberation

Chung Hong iu
Hong Kong / 2020 / 0:15:00

2019 in Hong Kong, protests become our daily life. The stuffs in the streets after each protest are changing our urban landscape, and they become the view of our everyday life. Graffitis on walls, unscrewed railings, bricks, respirators, safety goggles… Everything records what has happened in the city and witnesses our beliefs. I walked through the streets with my camera after protests. Mr. Liu Yichang let the objects tell the story in his nouveau roman short story, Roit, in 1968. Likewise, I let the objects play the narrators and tell us about the protests. Moreover, there are conversations and dialectic between different narrators. It is a tough time in our history for Hongkongers. I cannot talk about it with merely fiction film or documentary. That’s why I choose the essay film form. “Film is truth, 24 times a second.” (Le Petit Soldat, Jean-Luc Godard) Or sometimes, a frame for 24 seconds. When we gaze at an image, not just a glance, the images tell us more. Picking images in the city is a kind of gleaning. Walter Benjamin finds the common essence between poet and gleaner. They both walk in the urban as flâneur and find the memory trace in the city. Agnès Varda recognizes that she is a gleaner in her film Les Glaneurs et la Glaneuse. It is an artistic gleaning. “You pick ideas, you pick images, you pick emotions from other people, and then you make it into a film.” After the protests, taking photos of the stuff in the street is like a kind of gleaning.




Collage 38.2 (versión múltiple)

Luis Carlos Rodríguez
Spain / 2021 / 0:03:32

Collage 38.2 is an Intervention (construction / deconstruction), in the form of an audiovisual collage, on the film in the public domain: Of Human Bondage (1934) by John Cromwell- Collage 38 is one of the collages that is part of a broad experimental audiovisual research project that tries to explore, from the point of view of artistic-expressive activities, formal, structural, narrative and aesthetic issues. For this we intervene and construct variations, spatial and temporal, of mythical scenes from the cinema that have passed through the public domain. We modify its previous meanings, amplifying or varying its narrative value and its audiovisual aspect.



We Could Start All Over From the Beginning

Podríamos empezar desde cero
Dagmara Wyskiel
Chile / 2021 / 0:12:34

Children know that bodies sometimes disappear. In the postwar landscape they talk about the nature of the moon, of society and of the souls, which go away. The adults have vanished. The parents became extinct because of their own mistakes. There was no room on the planet for so many old people. There are many mysteries yet to be discovered.


Lines on the Winter Campaign, 1980
Thadeusz Tischbein, Rene Reinhardt
Germany / 2021 / 0:05:36

The excerpt from a poem by the Russian-American Nobel Prize winner Joseph Brodsky is a frozen description of the time of the Soviet empire of the 1980s, a metaphorical reckoning with a technocratic regime and a nightmarish illustration of the war.