Canal180

Canal180 other stories. Canal180 is a TV channel entirely dedicated to culture, arts and creativity.

Following the ever-changing artistic agenda, we broadcast innovative content, created by a new generation of artists. Canal180 also exclusively produces and curates projects from around the world.

04/03/2026

Ao longo do ano passado, acompanhamos a criação da Galeria Digital do Porto, uma colaboração entre a e a Porto Digital.

Através de instalações digitais de 13 artistas, esta galeria ativa vários pontos da cidade e procura novas maneiras de olhar para o espaço público.

Com ajuda da , falamos com alguns destes artistas para perceber como moldaram cada um destes espaços: desde a interpretação de testemunhos de comunidades residentes, até à compreensão da cidade como um palco sensorial.

Cada um refletiu a cidade de forma distinta, criando novos mundos ou repensando as suas histórias, comunidades, e identidades.

Em colaboração com a Galeria Municipal do Porto e Porto Digital, juntámos estas conversas neste documentário, disponível no link na bio 🔗

03/03/2026

Frederick Wiseman devoted most of his life to making films about institutions: welfare offices, hospitals, high schools, fashion houses, the halls of Congress. With a small crew of three, including himself doing sound, he spent decades observing public spaces and the State’s struggle when facing the sheer diversity of human life.

He rejected the label of documentarian, preferring to think of himself as someone who makes dramatic narrative films, ones that can be as funny, sad, or tragic as any fiction. ��A seven-minute sequence might be drawn from an hour of footage, compressed and shaped until it appears to unfold naturally. Not staged, not written, but fictional in its own way.

No interviews, no voiceover, nobody looking at the camera. Just meetings, people doing their job, accumulated over time in an attempt to lay bare the institutions that hold our day to day lives together.

May he rest in peace.

27/02/2026

’s “Timid Intimidating” video was made by filming life-sized cutouts in locations like the beach-side, a forest, a river, a prairie, where these printed elements interact in different ways with the scenarios around them.

In the new episode of Director ID, explained how he could have just composited the images onto these shots, but having physical cutouts planted in these sites and having them react to the different elements gave the video a distinct quality.

It’s a really unique play that opens a universe we were really curious about.

🔗 Find the full Director ID in the link in bio

26/02/2026

For Andy Shauf’s “Magician” video, created a composition where Andy’s face stays dead center in the video while the environment around him and his face are manipulated by various paper cut-outs.

He told us about the some of the super clever tricks he applied and the help he got from in filming Andy. We love the way this video creates an endless stream of shifting worlds with nothing but paper cutouts and a video of Andy Shauf’s face singing.

🔗 Check out the full Director ID in the link in bio

25/02/2026

In the new episode of Director ID, Winston Hacking takes us on a walk with his dog in Montreal to talk about the making of music videos for Andy Shauf, BADBADNOTGOOD, Animal Collective, Flying Lotus, and more.

Winston started out in animation by finding his own way of creating movement: he didn’t really draw or paint, so he used paper cut-outs, postcards, magazine scraps and an array of clever techniques to make it happen.

He told us about how many of his videos are built scene by scene, keeping the filming process flexible and open to discovering and heightening details shot-to-shot, staying playful and not being too certain of where things are going.

With this mindset, for more than a decade, Winston has created mesmerizing, playful, and intricate animations which surprise us at every step.

Catch it in the link in bio, or at 10:30pm

25/02/2026

In the new episode of Director ID, takes us on a walk with his dog in Montreal to talk about the making of music videos for Andy Shauf, BADBADNOTGOOD, Animal Collective, Flying Lotus, and more.

Winston started out in animation by finding his own way of creating movement: he didn’t really draw or paint, so he used paper cut-outs, postcards, magazine scraps and an array of clever techniques to make it happen.

He told us about how many of his videos are built scene by scene, keeping the filming process flexible and open to discovering and heightening details shot-to-shot, staying playful and not being too certain of where things are going.

Over more than a decade, Winston has created mesmerizing, playful, and intricate animations which surprise us at every step.

Catch it in the link in bio, or at 10:30pm

23/02/2026

We visited the exhibit of the winners of the at Antiga Casa da Câmara in Porto. The award, named after pioneering Portuguese architectural photographer Luis Ferreira Alves, brings together projects that approach architecture as a layered social and historical condition.

Architect and researcher Maria Neto presented The Hidden Land, by . The project unfolds in the Khuzestan plain, between the Dez and Karkheh rivers, a landscape where the remains of the Elamite civilisation lie buried beneath vast sugarcane fields. Once a site of ancient urban life, the area was later reshaped by agro-industrial expansion and, more recently, marked by labour strikes that became emblematic within contemporary Iran.

Ahmadizadeh photographs these terrains as human-free spaces, where vegetation, ruins, industrial traces, and fragments of propaganda coexist. The images move between archaeology and present-day politics, suggesting how cycles of construction, erasure, and resistance overlap in a territory that holds multiple layers of history beneath its surface.

19/02/2026

Hong Sang-soo’s films are built from small social situations: a walk that turns into a drink, a conversation that drifts, a reunion that repeats with a slight change. People misread each other, double back, try again. Desire, embarrassment, professional insecurity, boredom, curiosity: basic human emotions, observed closely and often with deadpan humour.

Born in Seoul in 1960, Hong has been making feature films since the 1990s and has gradually stripped his process down to something close to a personal practice: small crews, quick shoots, dialogue written on the day, digital images that keep everything plain and exposed.

His latest feature, “The Day She Returns”, premiered at the this week. In it, an actress finishes an independent film, gives three interviews, then realises she can’t remember what she said and is asked to reenact it.

18/02/2026

James Benning is widely known for his structuralist films, often composed of a set number of shots, held for a set amount of time, about a particular subject.

He’s spent decades building a cinema of attention, with fixed shots that let infrastructure, weather, radio chatter, isolated movements and everyday phenomena do the talking.

Benning’s films are sparse in setup and unbroken in time, letting history and the logics of power surface indirectly, through what’s built, what’s heard, what’s repeated, and what’s left out.

In The United States of America (1975) (with Bette Gordon), Benning turns a cross-country drive into a 30-minute windshield view, where the only narration is whatever is on the radio news, popular music, static, etc.

In Landscape Su***de (1986), approaches two real murder cases through two real testimonies and shots of American suburbia.

Ten Skies and 13 Lakes for example push Benning’s doctrine of “Looking and Listening” to its most radical form: fixed, time-bounded shots where “nothing happens” except weather, light, and sound slowly reconfiguring the frame.

This reflexivity is self-evident in the synopsis of his latest film “Eight Bridges”, which reads: “It seems to be the time do consider bridges”, premiering today at the

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