Raquel Marques

Nacimiento : , Porto, Portugal

Historia

Raquel Marques (Porto, 1979) graduated in Communication Sciences at the Faculty of Social and Human Sciences, New University of Lisbon and specialized in variant Cinema. In 2015 she did the Creation Documentary Masters at the University Pompeu Fabra (Barcelona). She directed the documentaries The House I Want in 2010 and All the Days of Our Lives in 2015 with Joana Frazão, produced by Terratreme Filmes, as well as the short films Bellies in 2005 and De pequeña quiero ser in 2014. Usually lives in Barcelona where she conducts analysis workshops and film production in collaboration with the cooperative Drac Màgic. Since 2010 she has worked in different documentary projects, including Trading Cities by Luisa Homem and Pedro Pinho (direct sound), Amb Titol by Neus Ballús (realization assistant), Fugir de l’Oblit by Abel Moreno (editor assistant). She is a founding member of analog film association Laboratorio Reversible, created in Barcelona in 2014.

Películas

Tiempos de deseo
Tiempos de deseo
Director
A new place in the world is revealed while Bea is confronted with loss and what she imagines will come. In the house that prepares itself to embrace change, fears dwell. An unforeseen loneliness also seems to be part of her desire, that of being a mother without a partner and a lesbian. The director films her attached to a time when the two shared the same idea of community. As Bea’s body changes, the camera moves between affection and distance. An attempt to get to know each other (again), and perhaps also a need to wonder about family, love, friendship and all those desires that overflow the limits of intimacy.
Arreta
Arreta
Director
The documentary follows Ainhoa who, after living a breast cancer, makes the decision to rebuild her body with a tattoo: a process through which she seeks to resignify her scars and empower herself in her trans body.
All the Days of Our Lives
All the Days of Our Lives
Editor
From the bride's room to the dance floor, through the situations created by photographers, we follow three couples on their wedding day. People working in the industry invite us to imagine the choices that the preparation of this day implies, the course of marriage preparation leads us to project the future that starts now: a daily life together. When looking at it - we all know how’s a wedding - All the Days of Our Lives tries to think about the desires that guide our life choices, ideals of love, having a family, belonging to the community.
All the Days of Our Lives
All the Days of Our Lives
Director
From the bride's room to the dance floor, through the situations created by photographers, we follow three couples on their wedding day. People working in the industry invite us to imagine the choices that the preparation of this day implies, the course of marriage preparation leads us to project the future that starts now: a daily life together. When looking at it - we all know how’s a wedding - All the Days of Our Lives tries to think about the desires that guide our life choices, ideals of love, having a family, belonging to the community.
The House I Want
The House I Want
Director
A locked up house where one can play, windows opened, the stone house, a wedding dress, the plants no-one takes care of for months, goats, pigs and horses, rainy days and the pool left unused, the husband who went clandestinely to France, the tree-house to be built, round gates they didn’t let us do, upward mattresses to protect against the dampness, the house build for some 30 years and the unfinished house, the house of our dreams. It’s summertime, the month of August, in Vascões, North of Portugal. Many of the houses of emigrants, empty during the rest of the year, are once more inhabited. We visit six of them, guided by the stories of those who built them.