Gonçalo Tocha
Historia
Gonçalo Tocha is a filmmaker and musician. He studied Portuguese Language and Culture at the University of Lisboa and is founder of that university's film club NuCiVo, in which he joined as a director, programmer and producer. His films have been screened at many film festivals and have won awards including the first prize at the DocLisboa International Competition 2011 and Documenta Madrid 2012.
Himself
Loves are found and lost. Families disappear and start. Houses, denouements, solitude, friendship. All that we keep, and all that we leave behind. Shot on Super 8 film between 2010 and 2018 in Portugal, Germany, Denmark, Switzerland, Italy, Guinea-Bissau, Argentina, Bolivia, Peru and Chile, ANYTHING AND ALL records the author’s memories as the days return to normal and emotions start to weaken, exploring the little ceremonies and other manias we indulge to remember our story.
Director
Following a real lost myth, in Vila Chã, we search for the sea women called "fisherwomen" in one of the few places in the world where women are skippers. But where are they and the 120 small-scale fishing boats? There are just 8 boats and a single fisherwoman. In a land of brave seamen, we have filmed the passion for the sea and the passion for fishing. - Doclisboa
Cinematography
El director Gonçalo Tocha y el ingeniero de sonido Dídio Pestana continúan retratando diferentes puntos de Portugal, como lo hicieron en su anterior película Es la Tierra, no la Luna (2011). Ahora los cineastas viajaron Guimarães, considerada cuna de la nación y recientemente nombrada Capital Europea de la Cultura. El documental se centra en las modificaciones arquitectónicas y urbanísticas que ha experimentado la ciudad con el paso del tiempo, especialmente la emblemática Plaza Toural, clasificada por la UNESCO como Patrimonio de la Humanidad. A partir de entrevistas, los cineastas rastrean la influencia de estos cambios en la vida cotidiana de los pobladores.
Screenplay
El director Gonçalo Tocha y el ingeniero de sonido Dídio Pestana continúan retratando diferentes puntos de Portugal, como lo hicieron en su anterior película Es la Tierra, no la Luna (2011). Ahora los cineastas viajaron Guimarães, considerada cuna de la nación y recientemente nombrada Capital Europea de la Cultura. El documental se centra en las modificaciones arquitectónicas y urbanísticas que ha experimentado la ciudad con el paso del tiempo, especialmente la emblemática Plaza Toural, clasificada por la UNESCO como Patrimonio de la Humanidad. A partir de entrevistas, los cineastas rastrean la influencia de estos cambios en la vida cotidiana de los pobladores.
Director
El director Gonçalo Tocha y el ingeniero de sonido Dídio Pestana continúan retratando diferentes puntos de Portugal, como lo hicieron en su anterior película Es la Tierra, no la Luna (2011). Ahora los cineastas viajaron Guimarães, considerada cuna de la nación y recientemente nombrada Capital Europea de la Cultura. El documental se centra en las modificaciones arquitectónicas y urbanísticas que ha experimentado la ciudad con el paso del tiempo, especialmente la emblemática Plaza Toural, clasificada por la UNESCO como Patrimonio de la Humanidad. A partir de entrevistas, los cineastas rastrean la influencia de estos cambios en la vida cotidiana de los pobladores.
Himself
A cameraman and a soundman arrive in Corvo in 2007, the smallest island in the archipelago of the Azores. Right in the middle of the Atlantic Ocean, Corvo is a large rock, 6km high and 4km long, with the crater of a volcano and a single tiny village of 440 people. Gradually, this small filming crew is accepted by the island’s population as its new inhabitants, two people to add to a civilization almost 500 years old, whose history is hardly discernible, such is the lack of records and written memories. Shot at a vertiginous pace throughout a few years, self‐produced between arrivals, departures and coming‐backs, “It’s the Earth not the Moon” develops as the logbook of a ship, and turns out as a patchwork of discoveries and experiences, which follow the contemporary life of a civilization isolated in the middle of the sea. A long atlantic film‐odissey, divided in 14 chapters, that combines anthropological records, literature, lost archives, mythological and autobiographical stories.
Director
A cameraman and a soundman arrive in Corvo in 2007, the smallest island in the archipelago of the Azores. Right in the middle of the Atlantic Ocean, Corvo is a large rock, 6km high and 4km long, with the crater of a volcano and a single tiny village of 440 people. Gradually, this small filming crew is accepted by the island’s population as its new inhabitants, two people to add to a civilization almost 500 years old, whose history is hardly discernible, such is the lack of records and written memories. Shot at a vertiginous pace throughout a few years, self‐produced between arrivals, departures and coming‐backs, “It’s the Earth not the Moon” develops as the logbook of a ship, and turns out as a patchwork of discoveries and experiences, which follow the contemporary life of a civilization isolated in the middle of the sea. A long atlantic film‐odissey, divided in 14 chapters, that combines anthropological records, literature, lost archives, mythological and autobiographical stories.
"It's now seven months over my mother's death. I am facing the S. Miguel island sea, the family land in the Azores. Between the newborn babies, I found my Grandaunt, 91 years old, waiting for her moment to part. At night my family speaks to me of God and death. During the day we swim in the island's volcanic sea, where I meet Florence and Beru, a French couple that is crossing the Atlantic in the Balaou, a sailing boat. They invite me to come with them." Divided in three moments and eight lessons, Balaou is a voyage to accept the oblivion of things.
Screenplay
"It's now seven months over my mother's death. I am facing the S. Miguel island sea, the family land in the Azores. Between the newborn babies, I found my Grandaunt, 91 years old, waiting for her moment to part. At night my family speaks to me of God and death. During the day we swim in the island's volcanic sea, where I meet Florence and Beru, a French couple that is crossing the Atlantic in the Balaou, a sailing boat. They invite me to come with them." Divided in three moments and eight lessons, Balaou is a voyage to accept the oblivion of things.
Director
"It's now seven months over my mother's death. I am facing the S. Miguel island sea, the family land in the Azores. Between the newborn babies, I found my Grandaunt, 91 years old, waiting for her moment to part. At night my family speaks to me of God and death. During the day we swim in the island's volcanic sea, where I meet Florence and Beru, a French couple that is crossing the Atlantic in the Balaou, a sailing boat. They invite me to come with them." Divided in three moments and eight lessons, Balaou is a voyage to accept the oblivion of things.
Music
