Júlio Alves
Nacimiento : , Lisbon, Portugal
Historia
Born in Lisbon in 1971, Julio Alves began working within the film industry at an early age. He began his well-established career working as an Assistant Director and Assistant Producer for several Portuguese, French and Spanish feature films and telefilms. Julio then began directing his own short films in genres such as fiction, animation and documentarie. Apart from his short documentaries, he has also directed two feature length documentaries. His works have been nominated at many national and international festivals and have also received numerous awards. Since 2000, Julio has expanded his portfolio in directing advertising films for large Portuguese and Spanish brands. He has his Master's degree in Film Studies and is currently working on his Doctorate in Communication Sciences.
Art Direction
The story of Caveirinha, a humble fisherman who lives in a difficult social situation. Immediately after the death of his son at sea, he faces the challenge of burying him with dignity.
Producer
Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.
Director
Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.
Art Direction
En un mundo atemporal, futurista y sin esperanza, la humanidad ha empezado un éxodo hacia nuevos planetas en busca de vida. Pedro, atrapado en una cotidianidad repetitiva, perseguido por extraños sueños y el miedo a quedarse solo, desea por encima de todo embarcarse en un viaje intergaláctico y empezar de nuevo. No obstante, todo cambia cuando conoce a Eva.
Art Direction
The summer festivities of a Portuguese village are suffused with sensuality and violence in this enigmatic portrait of a tightly knit family.
Screenplay
Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?
Director
Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?
Producer
Chantal Akerman and Pedro Costa meet in a movie theatre.
Writer
Chantal Akerman and Pedro Costa meet in a movie theatre.
Director
Chantal Akerman and Pedro Costa meet in a movie theatre.
Producer
“Sacavém” is a journey through Pedro Costa’s films and focused on his work on “Down to Earth”, “Bones”, “In Vanda's Room“, “Colossal Youth” and “Horse Money” Built on the visual and sound landscape of Pedro Costa’s films and accompanied by his owns reflections on the matter, “Sacavém” serves the audience has a window on how Costas cinema is sensed and conceived.
Director
“Sacavém” is a journey through Pedro Costa’s films and focused on his work on “Down to Earth”, “Bones”, “In Vanda's Room“, “Colossal Youth” and “Horse Money” Built on the visual and sound landscape of Pedro Costa’s films and accompanied by his owns reflections on the matter, “Sacavém” serves the audience has a window on how Costas cinema is sensed and conceived.
Director
I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.
Director
Manuel João Vieira shows us his home - or homes - and the characters who live there. The starting point is the characters' definition and the Casa Manuel Vieira exhibition. The Italian neighbour and the accidental tourist help us create scenarios on the man and the artist. In short, it is Manuel João Vieira and his rather particular working universe.
Director
António, Zé Maria, and João live in the house they are building. For two years, they reinitiate the process once or twice according to their work in the house. The changes in the bedrooms force constant changes in the living organization. The rooms change. Their habitants change as well. Time passes. The house comes to life.
Art Direction
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Producer
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Guarda 2
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Director
A small village in the centre of Portugal saw many of its inhabitants emigrate in the 60s and 70s. Many of them came back to "die at home", while others didn’t manage to do so, such as my parents. I go to the village and I visit the places where they were born, lived and died. I try to remake memories. I wonder whether my parents would live as all those who managed to return
Writer
Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.
Director
Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.
Writer
Short film.
Director
Short film.
Director
On a supermarket shelf, a particular alarm clock keeps blaring off-hand, upsetting the staff and the customers. Eventually, it's golden frame attracts the attention of a shoplifter, who is almost caught by security because of that feature. After escaping without paying from two other stores, the thief will come face to face with a cop - also wearing a long coat similar to the thief's - and the clock will blurt up again - in the wrong pocket.
Construction Foreman
En la Lisboa de 1938, cuando los totalitarismos triunfan en Europa, un periodista que ha trabajado siempre en la sección de sucesos, recibe el encargo de dirigir la página cultural de un periódico. Su sentido fúnebre de la cultura va a chocar con el espíritu vital de su joven colaborador, con quien mantendrá una estrecha relación. Se desencadenará una crisis personal, que cambiará profundamente la vida del maduro periodista.
Second Assistant Director
En la Lisboa de 1938, cuando los totalitarismos triunfan en Europa, un periodista que ha trabajado siempre en la sección de sucesos, recibe el encargo de dirigir la página cultural de un periódico. Su sentido fúnebre de la cultura va a chocar con el espíritu vital de su joven colaborador, con quien mantendrá una estrecha relación. Se desencadenará una crisis personal, que cambiará profundamente la vida del maduro periodista.
Producer
In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.
Director
In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.
