《Fordlandia Malaise》是一部关于福德兰地的记忆和现况的电影。福德兰地是亨利·福特1928年在亚马逊雨林创建的公司城。他的目标是打破英国的橡胶垄断，在巴西生产这种材料，用于他在美国的汽车生产。今天，建筑遗迹证明了这场持续不到十年的新殖民主义努力的失败。 如今，Fordlandia是一个悬浮在时间之间、20世纪到21世纪之间、乌托邦和反乌托邦之间、能见度和隐身性之间的空间：钢、玻璃和砖石建筑仍在使用，而土著生活的痕迹在地面上没有留下痕迹。 虽然福特兰地因短暂的福特时代而闻名，但人们不能忘记过去或之后的历史。为声称有权写自己的故事并拒绝“鬼城”标签的居民发声，福德兰迪亚的病态融合了档案图像、无人机画面、故事和叙述、神话和歌曲。 Fordlandia Malaise is a film about the memory and the present of Fordlandia, the company town founded by Henry Ford in the Amazon rain forest in 1928. His aim was to break the British rubber monopoly and produce this material in Brazil for his car production in the United States. Today, the remains of construction testify to the scale of the failure of this neocolonialist endeavor that lasted less than a decade. Nowadays, Fordlandia is a space suspended between times, between the 20th and 21st centuries, between utopia and dystopia, between visibility and invisibility: architectural buildings of steel, glass, and masonry still remain in use while traces of indigenous life left no marks on the ground. Although Fordlandia is well-known due to the brief Fordian period, one must not forget the history either before or after. Giving voice to the inhabitants who claim the right to write their own story and reject the ghost town label, Fordlandia Malaise blends together archival imagery, drone footage, tales and narratives, myths and songs.

Just after the Second World War, 5,000 young children were sent from Austria to stay with host families in Portugal, where they could recover from the violence of war. They were often welcomed in by well-to-do families with domestic staff living in sunny villas, and for most of the children this was a holiday in paradise. The contrast with their living conditions at home, and the huge difference between the lives of rich and poor in Portugal in this period, made a deep impression on the young Austrians. Filmmakers Susana de Sousa Dias and Ansgar Schaefer assembled a huge quantity of images from this time, in countless photo albums and archives. Carefully composed sound effects enhance the immersive atmosphere of this little-known story, while off-screen the former “guest children” recall this extraordinary, sometimes deliriously happy period that was also confusing for all concerned—hosts and guests alike. After about ten months, they were shipped back to Austria—with labels hanging from their necks like postal packages.

所有的影像背后总藏着另一个隐匿不现的图像。本片引用资料性的报纸、战争新闻片、宣传纪录片、以及政治犯和某些从未曝光的照片，试图重新检视1926至1974年之间长达48年的葡萄牙独裁政权。导演仅以这些照片和影像片段重新剪辑，完全不添加任何旁白，以古喻今的表达出他对现今政治局势的想法。

After Still Life-Visages d'une Dictature (international award winning film screened at festivals and exhibitions in five continents) , Susana de Sousa Dias focuses again on the time of the Portuguese dictatorship, using an innovative cinematic device. Starting from a group of photographs of political prisoners and their voices (but also the sound of the presence of their bodies), the filmmaker draws a portrait of the 48 years of dictatorship. The film uncovers details hidden so far and breaks with taboos still existing until today. At a time when the topic of torture is confronting us almost every day, 48 reminds us of the practice of the Portuguese dictatorship and of the aftereffects, which still can be felt today.