The first of these sessions will be dedicated to Bette Gordon, a central figure in New York’s underground film scene of the 1970s and 1980s. Gordon, who is also featured in the collective film Seven Women, Seven Sins (1986), presented in the anthology film programme, will be in Vila do Conde to introduce Empty Suitcases (1980), one of the most important and radical works of the No Wave Cinema movement.

Considered a landmark of American experimental cinema, Empty Suitcases addresses questions of female representation, identity, and political struggle through an innovative and fragmented narrative structure. Set against the artistic backdrop of late-1970s New York — and featuring a special appearance by photographer Nan Goldin — the film follows a photographer searching for answers to the sexual, economic, and social conflicts she faces, exploring extreme forms of resistance and dissent. The screening will be introduced by the filmmaker herself and followed by a conversation with the audience.

Another highlight of this year’s edition marks the fiftieth anniversary of The Girl Chewing Gum (1976), the iconic work of British filmmaker John Smith. The director, winner of the Best Documentary Award at Curtas Vila do Conde 2025 with Being John Smith (2025), returns to the festival to celebrate this milestone and present a selection of films spanning different stages of his career.

The programme includes key titles from his filmography, such as The Girl Chewing Gum (1976), The Black Tower (1987), Blight (1996), and Dad’s Stick (2012), offering a rare opportunity to revisit a body of work that has influenced successive generations of experimental filmmakers.

Premiering in March 1976 at the London Film-Makers’ Co-op, The Girl Chewing Gum (1976) remains one of the most celebrated reflections on cinematic language and the mechanisms of documentary filmmaking. Through an apparently authoritative narration that seems to control everything that happens on a street in East London, John Smith constructs a subtle and humorous critique of documentary objectivity while simultaneously exploring the relationship among image, sound, and narrative.

As with the session dedicated to Bette Gordon, the presentation of John Smith’s films will be accompanied by a conversation with the filmmaker, offering audiences a valuable opportunity to engage directly with one of the most significant figures in contemporary experimental cinema.