Portugal’s National Museum of Ancient Art opens its doors at midnight for MOTELX

At midnight and with a descent into art hell: this is how it will all start at the 13th edition of the Lisbon International Horror Film Festival.
At midnight and with a descent into art hell: this is how it will all start at the 13th edition of the Lisbon International Horror Film Festival. Before taking Cinema São Jorge by storm from 10 to 15 September, MOTELX kicks off in Warm-Up mode on 5 September with an unprecedented midnight visit to the National Museum of Ancient Art’s most terrifying artwork. 

31 strangers meet at midnight behind the closed doors of a vast and silent museum. Their aim: to explore hell in art. This could be the beginning of another horror movie but it’s in fact the starting point of the 13th edition of MOTELX, which has joined forces with Portugal’s National Museum of Ancient Art (MNAA) to offer a unique experience to 31 participants on the night of 5 to 6 September.  

What demons haunt Bosch’s Temptations of St Anthony or the Hell that an unknown Portuguese master painted in the 16th century? What are the forces behind Cranach’s Salome with the Head of St. John the Baptist? This visit will shed a new light on some of the most important works of MNAA’s collection, establishing connections with the emotional landscapes that inhabit the world of horror and fantasy. 

Registrations for this free, one-off guided tour are open from 9am on Friday, 2 August, and should be done via the email inscricoes@motelx.org (one per email). Participants must be over 18 and only the first 31 to reply will secure a place.  

The partnership between MOTELX and MNAA also contemplates an activity for children: "Lurking Creatures", a game/tour of the Museum for 13 children aged between 6 and 12 (15 September, 11h30). Part of the Big Bad Wolf section, this event is one of the highlights of a fun morning for kids that MOTELX is organising on the Festival’s closing day. Registration will also be done via the email inscricoes@motelx.org.
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