A silent man, of volcanic, visionary instincts, lives in an old mansion with his housemaid and driver. He leaves home one morning, after waking from a long sleep, to be driven through roads and tracks. That man’s spirit, haunted by transcendent glimpses and ghosts, leads him to wander, somnambular and diffuse, through a dense forest fog. Projected on the magnetic, fluid landscape, his shadow envisions a series of characters, dishevelled spectres that pass through the world, forever living in his actions and words.
This is the story of Rui’s summer. Rui is a 13 year old boy who unlike all the other kids of his age doesn’t like football and fighting. He prefers to take refuge in a dream like world surrounded by dinosaurs and other animals from the forest. The film focuses on daily life in a poor housing estate in Porto and, in particular, on a group of children aged between 8 and 14. It follows their life outdoors always inventing new games. Parents are seldom home and children have space and freedom to create their own rules, games of power many times copying the models they know from home. This is a special summer: people are expecting the European Football Cup and the possible victory of the Portuguese team will raise the morale of a country in full recession. Kids and adults are hypersensitive, feelings go over the top. TVS are put outdoors and the games of the European cup are followed by children and adults as an almost religious ritual. The film focuses on daily life in a poor housing estate in Porto and, in particular, on a group of children aged between 8 and 14. It follows their life outdoors always inventing new games. Parents are seldom home and children have space and freedom to create their own rules, games of power many times copying the models they know from home.
Of Time and the City is both a love song and a eulogy to Liverpool. It is also a response to memory, reflection and the experience of losing a sense of place as the skyline changes and time takes it toll.
An afternoon in the day-to-day life of a girl whose mother is a pianist. Their relationship is one of complicity and intimacy. Each other’s routines come together and apart according to a pattern of their own. They share space, closeness, a set of motions; one common heart beat. They are mother and daughter, and yet, they are still two independent women.
Alda is an original woman, but is also the double of a famous singer.
This is the building where they make the Portuguese’s law everyday. This is the assembly that represents all the Portuguese’s citizens.
António decides to be operated to his eyes, so he can see his dead wife picture once more.
Francisco, a writer, ceases to be able to focus on his work when his girlfriend moves into his house. Things get critical when his best friend also moves in as a guest.
Get Rid is an animation film on the transformation of a ball: it gets different shapes according to the player it is passed to.
It’s Sunday, a day for resting. Near the river, the father is fishing and drinking, the mother sleeps, the daughter plays…
They thought life would have been simple. All obligations and problems involved in material life would find a natural solution. Each morning, it would be nice to seat at the kitchen table. After a shower and before getting dressed, they would have breakfast. On the table there would be butter, pots of candy and toasts. It would be early. It would be the beginning of a long day of work.
From the Lat. Haesitare, to stand still, int. v., to be indecisive; to silence the obvious for an indefinite length of time; to refrain from naming things; to be perplexed not knowing what to say or what to do; to stagger; to mistrust or to fear memory; a set of motions put before conscience or willpower; a silenced woman dealing with the silenced truth of her relationship.
A home-made Super-8 musical. On the eve of his 30th birthday, a supermarket plebeian attempts to forge a profound connection with a flighty belle. From the midst of melancholy burst those brief, deceptive moments when everything feels like it is going to be fine.
A documentary in 17 movements, in which testimonies and the guitar define the genius, the bravery and the modesty of Carlos Paredes. In PERPETUAL MOVEMENTS ‚ A TRIBUTE TO CARLOS PAREDES a dialog is established between a guitar and a SP8 camera, in an aesthetic which evocates the memory of old family pictures, full of intimacy, revealed in the sharing of simple stories of life. The Carlos Paredes’s concert in Auditório Carlos Alberto, in Oporto, 1984, is the starting point for the unfolding of prison stories, resistance, success and amateurism, stories marked by simplicity and passion. Here we learn about how Paredes plays a song for the hotel’s receptionist, who mourns about not being able to attend to the concert that has just taken place. Or the way he uses a comb to exercise the guitar when he was in prison. The testimony of friends and colleagues lets us understand a bit more about who this man was, a man who, in spite of the privations, would never complaint, and who as left us a genius work of incontestable value, not only for the beauty of his compositions and his interpretation, but also for the dimension that it gave to the Portuguese Guitar – raising it to the class of an autonomous instrument in place of being a mere accompaniment for others – and transforming it into a symbol of Portuguese music beyond-frontiers. Remains the sensation of liberation that his art is capable to produce, and the mystics of the work he has left, full of deep enthusiasm and nostalgia for the future.
An exercise of truth. A woman tries to put away a stage of her life. But, many times, love can mean pain.
A father carries his wounded son looking for help. It‘s been a long time since they grew apart but the eventuality of an ending incites an urgent moment of reencounter.
In the beginning of their life in common, a young couple is facing the difficulties of being apart from each other because of work.
Sunny day in the outskirts of a small Portuguese city under a tree and facing a road this dysfunctional family have lunch. Domestic violence appears invisible to the group, and compassion non existent.
