29/09/2020
The best work-related documentary films on the podium of Doclisboa
The Healthy Workplaces Film Award for best work-related documentary film will be presented within the 18th international film festival Doclisboa . For this award provided annually by EU-OSHA, a selection of ten films featuring contemporary portraits of labour will be screened at Cinema São Jorge, Lisbon during the first festival moment – De 22 Outubro a 1 de Novembro.
The partnership between EU-OSHA and Doclisboa has inspired Body of Work - a programme that offers a platform for dialogue, through cinema, of human rights and social issues related to contemporary working conditions and practices.
Another approaching festival’s milestone, organised in partnership with EU-OSHA, is the roundtable online discussion on 28 October: Thinking Labour Practices Through Film focused on the relationship between cinema, work and its cinematographic representations.
Discover more about the festival’s programme dedicated to work and labour
Learn more about the Healthy Workplaces Film Award
Body of Work, work and labour through cinema | Doclisboa’20
Under the title BODY OF WORK, this new programme includes films from filmmakers such as Harun Farocki, Carole Roussopoulos, Elisa Cepedal and Jonas Heldt. It is a cinematic proposition that promises to pose important questions and stimulate debate on work and labour – a central thematic in our lives.
BODY OF WORK is a programme that arises from a partnership between Doclisboa and the European Agency for Safety and Health at Work (EU-OSHA), which aims to offer a platform for dialogue, through cinema, of human rights and social issues related to contemporary working conditions and practices – a key arena within our society.
The HWFA – Healthy Workplaces Film Award, created 11 years ago, for best work-related documentary film, will be presented within the Doclisboa festival starting from this year. For this award, a selection of ten films featuring contemporary portraits of labour will be screened at Cinema São Jorge, Lisbon, during the first moment of the festival – 22 October to 1 November.
At the same time, and as a complement to this contemporary programme, a set of films will be presented at DAFilms.com online platform including a historical mapping of the evolution of the presence of work in our lives during the last century and its cinematographic representations. Our aim is to establish new bridges between past and present through a diverse proposal of incisive and poetic cinematographic objects and representations of labour. This programme will also be part of the first moment of Doclisboa, from October 22 and November 3.
The films of the contemporary selection and those of the historical retrospective offer a web of connections and conversations. At the beginning of cinema, the Lumière brothers started by filming the departure of workers from a factory, an idea that Harun Farocki, a century later, proposed to explore in Workers Leaving The Factory, through a subtle look at the lives of workers inside and outside their field of labour. Jonas Heldt, in his turn, returns to the factory to provide us with a contemporary perspective, 25 years later, in Automotive, where we meet two Audi employees, who, despite great differences in their roles, are both representative of a generation for whom work is no longer a certainty nor a factor of identity.
The mining town of Barredos in the Asturias region, portrayed in Elisa Cepedal‘s Work or to Whom Does the World Belong, was for years involved in strikes and struggles for workers’ rights, and now finds itself grappling with a progressive deindustrialization that is slowly transforming this town into a moribund one. A parallel disappointment is expressed on the face of a female worker at the Wonder factory in Saint Ouen, captured by Hervé Le Roux in Reprise, as she refuses to return to the darkness of routine, after the promises made during May ‘68 for a social change she has yet to encounter.
Social transformations are also illuminated in Merry Christmas, Yiwu, in which Mladen Kovačević explores the growing paradox of the Chinese city of Yiwu, where 600 factories dedicated to the production of Christmas ornaments are located. Beneath the tinsel and lights workers dream of a more luxurious life, increasingly distant from the communist ideal.
Over the past few decades, we have seen profound changes in the world of labour that have shaped our society, in which unemployment, precariousness and liberalization have both dominated and forged new landscapes. In Lee Anne Schmitt’s California Company Town, we cross an extensive terrain of Californian landscapes that have been abandoned by the industries that created them. Across, and beneath, the ocean, salt miners and scientific researchers working side by side at the edge of the biosphere, in the depths of North Yorkshire, are subject to observation by Federico Barni and Alberto Allica in the short film Under the North Sea. Meanwhile Jeong-keun Kim goes Underground, far from the commotion of the city, to explore the facilities of the South Korean metro, leading the camera alongside the protagonists of this subterranean world, as it’s labour force travels towards uncertainty.
In Scenes in an Atelier, by Madelaine Merino, a workshop for painting restoration provides the backdrop for three young interns who, while working, discuss subjects such as art, friendship, family, and naturally work itself. In The Kiosk, Alexandra Pianelli accompanies, from the counter of her mother’s newspaper kiosk, an innocent game of complicit exchanges with the shop’s diverse customers. But through the same window we also witness global developments and the current crisis facing the press industry.
Technological and economic crisis is also visible in Rules of the Assembly Line, at High Speed, filmed in a small town in Western Germany, where one of the largest slaughterhouses in the country is located. The daily lives of the community and the precarious conditions immigrants from Eastern Europe have to endure contrast with images of high school students who study an old text, “Saint Joan of the Stockyards” by Bertolt Brecht, while reflecting on German capitalism today. Present day economic fragility is also the contemporary common ground for a Kansas farmer, a laid off Ohio factory worker and an Uber driver in Florida. But even so, the three protagonists of Sarah Colt‘s The Disrupted refuse to be shaken. On the contrary, as America’s economy quakes, these three faces display their resilience.
If we talk about work and social rights, we also undoubtedly have to talk about the working role of women, the subject of cinematographic representation by so many filmmakers. Take for example La Mami, in which Laura Herrero Garvin gets inside the dressing room of a busy nightclub in Mexico City, where the matriarchal Mami manages a group of exotic dancers, offering them a safe space as they seek their fortune. This is a portrait of a community of women who, with steady hands, dictate the house rules. Yet, the director’s discreet gaze is full of nuance, leaving some doubt in the air as to who is actually in control.
On October 28, from 3 pm to 4.30 pm (UTC +0), Doclisboa, in partnership with EU-OSHA, will also hold Thinking Labour Practices Through Film, a discussion on the relationship between cinema, work and its cinematographic representations that will take place online in order to include participants from different contexts and territories.
Find more informations on the programme here.
Programa Corpo de Trabalho _ Body of Work Programme.pdf
FILMES/ FILMS Retrospectiva Histórica/ Historical Retrospective
Reprise, by Hervé Le RouxRetratos de Alain Cavalier / Portraits by Alain Cavalier
Em cada retrato desta série, Alain Cavalier entrevista uma mulher que tem umaprofissão rara ou em vias de extinção em Paris. No local de trabalho, falam sobre asua profissão e as suas técnicas, a sua formação e a sua história, os seus gostos e asua vida quotidiana. Estes retratos são tão documentais quanto íntimos e revelampersonalidades e mundos de trabalho surpreendentes.“Estes retratos são encontros que eu quis salvar do esquecimento, mais não sejadurante os escassos minutos em que os vêem. A minha vontade é documentar otrabalho manual feminino. A minha esperança é que entre o primeiro e o último retratoseja também a história do trabalho de um cineasta. Não sou documentarista. Souantes um apreciador de rostos, de mãos e de objectos: amo a generosidade destas mulheres que aceitam que as filme.” -
AlainCavalier Each portrait in this series is made up of an interview by Alain Cavalier with a womanworking in Paris in a rare or endangered profession. In the workplace, they talk abouttheir profession and its techniques, their training and history, their tastes and their dailylife. These portraits are as documentary as they are intimate and reveal astonishingpersonalities and worlds of work.
“These portraits are encounters I wanted to keep from oblivion, even if it is only whileyou are watching them. My wish is to document female manual work. My hope is thatbetween the first and the last portrait you will also see the story of a film-maker’s work.I am not a documentary film-maker. I am more a lover of faces, hands and objects. Ilove the generosity of these women who allow me to film them.” -
Alain Cavalier LaCanneuse AlainCavalier•1987•França/France•13’• Sinopse / Synopsis
Jeannine Coutard é empalhadora. À medida que descobrimos o seu ofício solitário,Cavalier partilha reflexões acerca do seu próprio trabalho enquanto cineasta.
Jeannine Coutard is a wicker restorer. As we discover the ropes of her trade, Cavaliershares his thoughts on his own work as a film-maker.LaRémouleuseAlainCavalier•1987•França/France•13’• Sinopse / SynopsisMarie é amoladora nas ruas de Paris. Cavalier filma em estúdio este retrato de umavida marcada pela miséria.Marie is a knife grinder in the streets of Paris. Cavalier films this portrait of a wretchedlife in a film studio.LaRepasseuseAlainCavalier•1987•França/France•13’• Sinopse / Synopsis
Retrato da senhora Ambrosini, de 81 anos, que gere uma lavandaria há cinquenta anos.
Portrait of Madame Ambrosini, 81, who has run a laundry for fifty years.---------------------------------------------------
CaliforniaCompanyTown/CaliforniaCompanyTownLeeAnneSchmitt•2008•EUA/USA•78’
EstreiaPortuguesa/PortuguesePremiere• Sinopse / Synopsis
O filme lança um olhar inquisidor e lúcido à paisagem das cidades californianasabandonadas pelas indústrias que as criaram – outrora cidades prósperas, são agora assombradas pelo ocaso da promessa americana.
The film casts a probing, clear-eyed gaze at the landscape of California townsabandoned by the industries that created them—one time boom-towns now hauntedby the twilight of the American promise.--------------------------------------------------------
Cantos do Trabalho em Estorãos Alfredo Tropa •1973•Portugal•30’• Sinopse / Synopsis
No concelho de Ponte de Lima, na aldeia de Estorãos, o etnólogo Michel Giacometti regista cantos de trabalho também caracterizados pela sua crítica social.
Ethnologist Michel Giacometti records work-related songs also marked by socialcritique in the village of Estorãos (county of Ponte de Lima).---------------------------------------------------------
O Caso Sogantal (Fernando Matos Silva)•1975•Portugal•45’• Sinopse / Synopsis
O Caso Sogantal regista o processo de luta, em 1975, durante o PREC, das 48operárias da fábrica de confecções do Montijo cujo encerramento pela administraçãoresponde às reivindicações por direitos básicos como o salário mínimo, um mês deférias, o respectivo subsídio e o décimo terceiro mês.O Caso Sogantal records the struggle of the 48 female workers of a clothing factory inMontijo, in 1975, during the Portuguese revolutionary process (PREC). The ownersclose the plant in response to the claims for basic rights such as minimum wage, onemonth’s paid vacations and thirteenth month bonus.
------------------------------------------------------------------Classe de lutteGrupo Medvedekine de Besançon•1969•França/France•40’• Sinopse / SynopsisO nascimento de uma filial sindical numa fábrica de relógios em 1968. É o primeiro dosfilmes realizados pelos trabalhadores do grupo Medvedkine e mostra como Suzanneconsegue convencer as outras operárias da fábrica a unirem-se, apesar da falta decooperação dos líderes sindicais e das intimidações da administração.
The birth of a union branch in a watch-making factory in 1968. This is the first filmmade by the workers of the Medvedkine group, and it shows how Suzanne manages toconvince the other women working in that factory to regroup, despite theuncooperative union leaders and the management intimidations. -------------------------------------------------------------
FromtheReportsofSecurityGuards&PatrolServicesPart1/Nr.1–AusBerichtenderWach-und Patrouillendienste HelkeSander •1985•RFA/FRG•11’ Sinopse/Synopsis
Uma mulher sobe a uma grua,até à extremidade da lança, com as suas duas crianças pequenas agarradas. Ameaça saltar, a menos que lhe dêem um apartamento acessível ao cair da noite.
A woman climb supahighcranetotheveryendof the boom, clutchinghertwosmall children. Shethreatenstojumpunlessprovidedwithanaffordableapartmentcomenightfall.-------------------------------------------------------------Nr. 1 – Aus Berichten der Wach- und Patrouillendienste / From the Reports ofSecurity Guards & Patrol Services Part 1Helke Sander •1985•Alemanha/Germany•11’• Sinopse / Synopsis
Uma mulher sobe a uma grua, até à extremidade da lança, com as suas duas crianças
pequenas. Ameaça saltar, a menos que lhe disponibilizem uma habitação a preço acessível até ao cair da noite. A woman climbs up a high crane to the very end of the boom, clutching her two smallchildren. She threatens to jump unless provided with an affordable apartment comenightfall.----------------------------------------------------------
Lúcia e Conceição Cinequipa (FernandoMatosSilva)•1974•Portugal•25’• Sinopse / Synopsis
Lúcia e Conceição aborda a vida de duas raparigas da aldeia da Maia, nos Açores. Um documento fascinante sobre um Portugal onde ainda não tinha chegado a Revolução.São imagens produzidas para a RTP a partir de um lugar onde a televisão ainda nãotinha chegado.
The life of two girls from the village of Maia, Azores, where the revolution was yet toarrive. Images shot for the Portuguese Television (RTP) from a place where televisionwas yet to arrive .--------------------------------------------------------------
The Prostitutes of Lyon Speak/ LesProstituéesdeLyonparlentCaroleRoussopoulos•1975•França/ France•46’• Sinopse / Synopsis
Na Primavera de 1975, cerca de duzentas prostitutas ocupam a igreja de Saint-Nizier,em Lyon. Risonhas ou receosas perante a câmara de Carole Roussopoulos, ouescondendo-se desajeitadamente, dão um testemunho enquanto “mulheres e mães”,para exigir que o assédio policial, fiscal e social cesse. No exterior da igreja, ecrãs devídeo retransmitem os debates para os transeuntes, sobretudo homens.
Approximately two hundred prostitutes occupied the church of Saint-Nizier, in Lyon, inthe spring of 1975. Either smiling to or afraid of Carole Roussopoulos’ camera, or evenclumsily hiding, they give their testimonials as “women and mothers” to demandpolice, tax, and social harassment be stopped. Outside the church the debates arebroadcast in video screens for the people on the streets – mainly men.
-----------------------------------------------------------------
Reprise HervéLeRoux•1996•França/France•192’• Sinopse / Synopsis
A 10 de Junho de 1968, estudantes de cinema filmam o retomar do trabalho na fábrica Wonder de Saint-Ouen. Uma jovem operária diz que não voltará a entrar. 28 anos mais tarde, a procura dessa mulher toma a forma de uma busca quase obsessiva.
On June 10, 1968, film students shoot the return to work at the Wonder plant inSaint-Ouen. A young female worker says she won’t go back. Today, the search for thatwoman turns into an almost obsessive quest.------------------------------------------------------------
WorkersLeavingtheFactory/ArbeiterverlassendieFabrikHarunFarocki•1995•Alemanha/Germany•36’• Sinopse / Synopsis“
O primeiro filme alguma vez projectado intitula-se Os Operários a sair da Fábrica.Chaplin fez de operário e Marilyn Monroe saiu uma vez por um portão de uma fábricade conservas de peixe... mas o filme de operários não se tornou num género principalna história do cinema. A maioria dos filmes começa quando acaba o trabalho. Eu recolhi imagens, encenadas e documentais, de vários países e de muitas décadas queexpressam a ideia de ́saída da fábrica’.” -
HarunFarocki“The first film ever projected is listed under the title The Workers Leaving the Factory.Chaplin played a worker, and Marilyn Monroe once exited the gate of a fish factory...but the workers’ film has not become a main genre in film history. Most films beginwhen the work is over. I have collected images from several countries and manydecades expressing the idea ‘exiting the factory’, both staged and documentary.” -
HarunFarocki FILMES/FILMS Selecção Prémio LocaisdeTrabalhoSeguroseSaudáveis/HealthyWorkplaces Film Award Selection Work or to Whom Does the World Belong, Elisa Cepedal El trabajo o a quién le pertenece el mundo / Work or to Whom Does the WorldBelongElisaCepedal• 2019• Espanha, ReinoUnido/ Spain,United Kingdom•65’ Sessão de Abertura/ OpeningSessionEstreiaPortuguesa/PortuguesePremiere• Sinopse / Synopsis
Uma zona residencial volta a ser um campo de batalha nos confrontos entre grevistas e Polícia. Após o fracasso da última greve, os trabalhadores têm de escolher entre aacção e a apatia. O filme observa uma comunidade mineira pelo prisma da etnoficçãoenquanto esta negoceia o declínio da mesma indústria que permitiu o seu surgimento.Um longo período de desindustrialização que afecta a região inteira dá lugar a umapaisagem decadente de bocas de minas e aterros de entulho.
A housing estate once more becomes a battlefield as strikers and police clash. Afterthe failure of the last strike, workers are faced with the choice between action and
apathy. The film observes a mining community through the prism of ethnofiction as itnegotiates the decline of the same industry that enabled its emergence. A long periodof deindustrialisation affecting the whole region gives way to a decaying landscape ofpitheads and slag heaps.---------------------------------------------------
AutomotiveJonasHeldt•2020•Alemanha/Germany•79’EstreiaInternacional/InternationalPremiere• Sinopse / Synopsis
Qual o valor do trabalho na era da revolução digital? Na Audi, Seda (20 anos) organizapeças na linha de montagem robotizada. Sonha ter o seu próprio Mercedes e não temvontade de casar e ter filhos. Eva (30 anos) gosta de ir de bicicleta para o trabalho. Atrabalhar como caça-talentos para a Audi, procura especialistas para automatizar afábrica. Eva quer viver com a namorada nas Caraíbas e deixar de trabalhar. Sabe queo seu emprego será substituído por algoritmos. Duas representantes de uma geraçãopara quem o trabalho não é uma certeza nem um factor de identidade.
What is the value of work in the age of the digital revolution? At Audi, 20-year-old Sedasorts car parts on the assembly line for robots. She dreams of her ownMercedes-Benz, and has no desire to find a husband and have children. 30-year-oldEva likes to ride her bike to work. As a headhunter working for Audi, she is looking forexperts to automate their logistics. Eva wants to live with her girlfriend in the Caribbeanand not work any more at all. She knows her own job will be replaced by algorithms.Two representatives of a generation for whom work is neither a certainty nor a sourceof identity.---------------------------------------------------
TheDisruptedSarah Colt •2020•EUA/USA•91Estreia Portuguesa / Portuguese Premiere’• Sinopse / Synopsis
O que têm em comum um fazendeiro no Kansas, um operário despedido no Ohio euma motorista da Uber na Florida? São os três optimistas expeditos que se esforçampor se adaptar e prosperar apesar das forças desumanizantes em acção na economiaamericana. Ao encararem os entraves com coragem, alguns ideais permanecem sagrados para os heróis do filme: família, amor e manter-se forte perante aadversidade. Em última instância, The Disrupted revela uma experiência americanacolectiva de desafio financeiro, resiliência familiar e a busca do propósito e da dignidade do trabalho.
What do a farmer in Kansas, a laid-off factory worker in Ohio and an Uber driver inFlorida have in common? All three are resourceful, positive thinkers who strive to adaptand thrive despite dehumanizing forces at play in the American economy. As the film’sheroes face these roadblocks with courage, certain ideals remain sacred: family, love,and staying strong in the face of adversity. Ultimately, The Disrupted reveals acollective American experience of financial challenge, family resilience, and the questfor the purpose and dignity of work.---------------------------------------------------
TheKiosk/LeKioskAlexandraPianelli•2020•França/France•79’EstreiaPortuguesa/PortuguesePremiere• Sinopse / SynopsisLe Kiosque é um jornal filmado de uma jovem artista plástica que veio dar uma mão àmãe, vendedora de jornais num distrito chique de Paris. Os membros da sua famíliavêm-se sucedendo atrás da caixa registadora há quase um século e observando omundo em evolução. Da descoberta da profissão à cumplicidade que se forja com aclientela, a realizadora brinca à comerciante, como num sonho de infância antigo. Masa imprensa está em crise e, com o passar das estações, o seu joguinho revela-semenos divertido do que o esperado.
Le Kiosque is a filmed newspaper of a young plastic artist who came to lend a hand toher mother, a newspaper saleswoman in a chic district of Paris. Her family membershave been following each other behind the cash register for nearly a century andobserving the world as it goes. From the discovery of the profession to the complicitythat is forged with the clientele, the director plays the merchant, as in an old childhooddream. But the press is in crisis and, with the passing of the seasons, her little gameturns out to be less fun than expected.---------------------------------------------------
UndertheNorthSeaFedericoBarni,AlbertoAllica•2020•ReinoUnido/UnitedKingdom•18’EstreiaMundial/WorldPremiere• Sinopse / Synopsis
A um quilómetro de profundidade na costa do condado de North Yorkshire, mineirosde sal e investigadores trabalham lado a lado no limite da biosfera. Uma mulher jovemdescobre um futuro novo na escuridão deste ambiente extremo.
One kilometre underneath the North Yorkshire coast, salt miners and researchscientists work side by side at the edge of the biosphere. A young woman finds a newfuture in the darkness of this extreme environment.---------------------------------------------------
UndergroundJeong-keunKim•2019•CoreiadoSul/SouthKorea•88’EstreiaInternacional/InternationalPremiere• Sinopse / Synopsis
Há muitas pessoas nas composições do metropolitano a correr sem fim de um ladopara o outro no centro da cidade. Há pessoas que gerem este espaço condigno“subterrâneo” quando toda a gente passa pelo subsolo para a vida “em terra” deforma apressada. Sob o mundo ruidoso de hoje, aproximamo-nos delas, para vercomo é a vida debaixo da terra.
Numerous people are on subway trains running up and down the city centre endlessly.There are people who run this decent space “underground” when everybody goesthrough the basement for life “on the ground” with busy steps. Under the noisy worldtoday, we approach them to see what life is like underground.---------------------------------------------------
LaMamiLauraHerreroGarvín•2019•México,Espanha/Mexico,Spain•82’
EstreiaPortuguesa/PortuguesePremiere• Sinopse / Synopsis
Uma das divisões no interior do lendário cabaré Barba Azul tornou-se num abrigo paraas raparigas que ali trabalham: a casa de banho das mulheres. Todas as noites, LaMami, que é responsável pelas casas de banho, dá-lhes o carinho e o aconselhamentode que precisam para enfrentar o desafio que têm pela frente na pista de dança.Lembram-nos que as alianças são decisivas quando a sociedade em que vivemos nosestá constantemente a julgar e a estigmatizar.
One of the rooms inside the legendary Barba Azul Cabaret has become a shelter forthe girls working there: the women’s bathroom. Every night, La Mami, who’s in chargeof the bathrooms, offers them the warmth and advice they need to take on thechallenge they face in the dance hall. They remind us that alliances are crucial whenthe society in which we live is constantly judging and stigmatising us.--------------------------------------------------
MerryChristmas,YiwuMladenKovačević•2020•Suécia,Sérvia,França,Alemanha,Bélgica,Catar/Sweden,Serbia,France,Germany,Belgium,Qatar•94’Estreia Portuguesa / Portuguese Premiere• Sinopse / Synopsis
Os ideais comunistas há muito que perderam valor em Yiwu, uma cidade onde 600fábricas produzem o Natal como o conhecemos para o mundo inteiro. Com o aumentodos salários nas fábricas, a maior parte dos trabalhadores pode agora comprar osiPhones mais recentes, mas continuam a dormir em dormitórios fabris superlotados,sendo todos migrantes dentro do seu país. Entalados entre as tradições chinesas e osonho chinês recém descoberto, querem ser ricos, ser independentes e apaixonar-se.
Communist ideals have long lost their value in Yiwu, a city where 600 factories produceChristmas as we know it for the entire world. With rising factory wages, most workerscan now afford the newest iPhones, but they still live in crowded factory dormitories, allmigrants in their own country. Stuck between Chinese traditions and the newlydiscovered Chinese dream, they want their own businesses, they want to be rich, to beindependent, to be in love.---------------------------------------------------
Regeln am Band, bei hoher Geschwindigkeit / Rules of the Assembly Line, at HighSpeedYulia Lokshina•2020•Alemanha / Germany•93’Estreia Internacional / International Premiere• Sinopse / SynopsisUma pequena localidade na parte ocidental da Alemanha é a última paragem para 26000 porcos por dia e residência temporária para multidões de trabalhadorestemporários da Europa de Leste. Os trabalhadores do maior matadouro do país lutampela sobrevivência enquanto activistas alemães que defendem os seus direitos lutamcontra as autoridades locais. Ao mesmo tempo, estudantes do ensino secundáriotrabalham na peça Die heilige Johanna der Schlachthöfe [Santa Joana dosMatadouros] e procuram compreender o texto antigo e o capitalismo alemão dosnossos dias.
A small town in western Germany is the last stop for 26,000 pigs per day and atemporary home for masses of Eastern European temporary workers. The workers ofthe largest slaughterhouse in the country are fighting for survival, while Germanactivists who stand up for their rights are fighting against the local authorities. At thesame time, Munich high school students are working on the play Die heilige Johannader Schlachthöfe [Saint Joan of the Stockyards] and trying to grasp the old text andGerman capitalism of our days.---------------------------------------------------
Szenen eines Ateliers / Scenes in an AtelierMadelaine Merino•2020•Alemanha / Germany•75’Estreia Mundial / World Premiere• Sinopse / SynopsisValerie, Lili e Isabella têm todas 19 anos e trabalham como estagiárias numa oficina derestauro de pinturas em Baden-Baden. É o primeiro passo para a vida profissionalapós a escola. Têm um ano para descobrir se querem ser restauradoras ou não.Enquanto trabalham, discutem temas como arte, amizade, família e naturalmente opróprio trabalho. O filme mostra estas reflexões pessoais e dá uma perspectiva sobrea arte do restauro.Valerie,
Lili and Isabella, all 19 years old, work as interns in a workshop for paintingrestoration located in Baden-Baden. It’s their first step into working life after school.They have one year to find out whether to be a restorer or not. While working theydiscuss subjects as art, friendship, family and naturally work itself. The film showsthese personal reflections and gives insights into the craftsmanship of restoration.
Programa Corpo de Trabalho _ Body of Work Programme.pdf
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