Cinema was still silent when the telephone began to ring in numerous films. More than a mere prop (an icon of modernity) this device, as had already occurred in literature and theatre, had a profound impact on cinema. By connecting and interrupting different characters, locations and experiences of time experiences, the telephone not only expanded narrative possibilities — from the generation of dialogue to the exploration of off-screen space and the creation of suspense — but also transformed the very language of cinema itself.
Almost 150 years after Alexander Graham Bell uttered the historic words, ‘Mr Watson, come here. I want to see you,’ — and precisely at the moment when the iPhone reaches legal adulthood — Batalha presents a film programme that stages unexpected conversations between analogue telephones, digital devices and cinema. This selection invites audiences to reflect on how such technological transformations have affected not only the way we communicate, but also how we live, and, naturally, how cinema is made.
From blockbusters to artists’ films and auteur cinema, this programme brings together narratives that pivot upon telephone calls, works filmed on mobile phones, and scenarios that explore the phone camera as an ambivalent weapon — a tool that can serve both as a means of resistance against authoritarian regimes and as an instrument of surveillance, aggression and public judgement.
Running from September to October, When the Phone Calls spans 15 countries, three continents and over a century of cinema. At each screening, we invite the audience to silence their phones and lower their brightness — and to become an active interlocutor in this game of crossed lines.
Curated by Diogo Costa Amarante, Inês Sapeta Dias and Justin Jaeckle
Scream, Wes Craven, 1996
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Cinema was still silent when the telephone began to ring in numerous films. More than a mere prop (an icon of modernity) this device, as had already occurred in literature and theatre, had a profound impact on cinema. By connecting and interrupting different characters, locations and experiences of time experiences, the telephone not only expanded narrative possibilities — from the generation of dialogue to the exploration of off-screen space and the creation of suspense — but also transformed the very language of cinema itself.
Almost 150 years after Alexander Graham Bell uttered the historic words, ‘Mr Watson, come here. I want to see you,’ — and precisely at the moment when the iPhone reaches legal adulthood — Batalha presents a film programme that stages unexpected conversations between analogue telephones, digital devices and cinema. This selection invites audiences to reflect on how such technological transformations have affected not only the way we communicate, but also how we live, and, naturally, how cinema is made.
From blockbusters to artists’ films and auteur cinema, this programme brings together narratives that pivot upon telephone calls, works filmed on mobile phones, and scenarios that explore the phone camera as an ambivalent weapon — a tool that can serve both as a means of resistance against authoritarian regimes and as an instrument of surveillance, aggression and public judgement.
Running from September to October, When the Phone Calls spans 15 countries, three continents and over a century of cinema. At each screening, we invite the audience to silence their phones and lower their brightness — and to become an active interlocutor in this game of crossed lines.
Curated by Diogo Costa Amarante, Inês Sapeta Dias and Justin Jaeckle
Diogo Costa Amarante
Diogo Costa Amarante is a film director and professor at the School of Arts of the Portuguese Catholic University in Porto. He studied film at ESCAC (Catalonia) and completed an MFA in Film Directing at NYU Tisch School of the Arts, as a Fulbright and Gulbenkian scholar. He has directed several internationally award-winning short films, including Jumate / Jumate (2008), Em Janeiro, Talvez (2009), Down Here (2011), As Rosas Brancas (2013), Cidade Pequena (Golden Bear, Berlin, 2017) and Luz de Presença (Best Short Film, Festival du Nouveau Cinéma, Canada, 2021). In 2024, he premiered his first feature film, Estamos no Ar, at the Rotterdam International Film Festival.
Inês Sapeta Dias
Inês Sapeta Dias Inês Sapeta Dias has worked in film research, production and programming. She has been organising film programmes since 2004, first at the Filmoteca de Catalunya (Barcelona), then at the Videoteca do Arquivo Municipal de Lisboa, and currently works in the Permanent Exhibition Department of the Portuguese Cinematheque. She has written a thesis on the history of film and published books and articles on the subject of aesthetics and the history of cinema. She directed Retrato de Inverno de Uma Paisagem Ardida (2008, 16mm, 40', ICA/RTP), A Casa É a Ruína de Uma Casa (in post-production, 16mm, 30', Gulbenkian/Government of the Azores) and is co-directing the series Atlas de Um Cinema Amador (ICA/RTP).
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