Lucas Fidalgo Knoeller

At a peculiar dinner party, an actress tries to survive amidst visions of her darkest nightmares. Without the slightest notion of space-time, the bewildered actress faces her fears and addictions, lost between what could be real or a figment of her imagination, dinner takes on a life of its own.

At a peculiar dinner party, an actress tries to survive amidst visions of her darkest nightmares. Without the slightest notion of space-time, the bewildered actress faces her fears and addictions, lost between what could be real or a figment of her imagination, dinner takes on a life of its own.

At a peculiar dinner party, an actress tries to survive amidst visions of her darkest nightmares. Without the slightest notion of space-time, the bewildered actress faces her fears and addictions, lost between what could be real or a figment of her imagination, dinner takes on a life of its own.

At a peculiar dinner party, an actress tries to survive amidst visions of her darkest nightmares. Without the slightest notion of space-time, the bewildered actress faces her fears and addictions, lost between what could be real or a figment of her imagination, dinner takes on a life of its own.

Dozens of film enthusiasts come together to intervene and recreate already filmed in s8

Dozens of film enthusiasts come together to intervene and recreate already filmed 16mm

Dozens of film enthusiasts come together to intervene and recreate already filmed in s8

"Vanity of vanities, everything is vanity" says the bible. The word flows from the tongue naming the pleasure of earthly life and judging it as beautiful, but shallow and useless; vanity is a deadly sin. A female sin. The man painted the woman, put a mirror in his hands and called it vanity. The woman in representation admires herself, but the one who really admires her body is the artist. Whose vanity? In VANITAS, we re-divide the woman in our bodies, showing the depth of what is palpable. If the Father's temple hides after death, clean and perfect, we reject them. We welcome Mother Nature in us, life-death in a perpetual sacred cycle, also honoring her dark face. You may wish to reach heaven, but it is on earth that your knees fall.

"Vanity of vanities, everything is vanity" says the bible. The word flows from the tongue naming the pleasure of earthly life and judging it as beautiful, but shallow and useless; vanity is a deadly sin. A female sin. The man painted the woman, put a mirror in his hands and called it vanity. The woman in representation admires herself, but the one who really admires her body is the artist. Whose vanity? In VANITAS, we re-divide the woman in our bodies, showing the depth of what is palpable. If the Father's temple hides after death, clean and perfect, we reject them. We welcome Mother Nature in us, life-death in a perpetual sacred cycle, also honoring her dark face. You may wish to reach heaven, but it is on earth that your knees fall.

"Vanity of vanities, everything is vanity" says the bible. The word flows from the tongue naming the pleasure of earthly life and judging it as beautiful, but shallow and useless; vanity is a deadly sin. A female sin. The man painted the woman, put a mirror in his hands and called it vanity. The woman in representation admires herself, but the one who really admires her body is the artist. Whose vanity? In VANITAS, we re-divide the woman in our bodies, showing the depth of what is palpable. If the Father's temple hides after death, clean and perfect, we reject them. We welcome Mother Nature in us, life-death in a perpetual sacred cycle, also honoring her dark face. You may wish to reach heaven, but it is on earth that your knees fall.

The breadth and physiographic diversity that characterize the Melgaço border offered multiple possibilities of passage during the time of smuggling and immigration by leaps and hops. And it is in this mythical place that the roots of a multifaceted artist are born. Madalena Lima infects us with her intelligent, expressive and ironic way of being. Her work celebrates traditions and opportunities, as well as revealing contradictions and weaknesses, experimenting with new techniques without neglecting the concept. By telling her story, we enter into symbiosis with the landmarks that imprint a unique identity to this land in Minho.

The breadth and physiographic diversity that characterize the Melgaço border offered multiple possibilities of passage during the time of smuggling and immigration by leaps and hops. And it is in this mythical place that the roots of a multifaceted artist are born. Madalena Lima infects us with her intelligent, expressive and ironic way of being. Her work celebrates traditions and opportunities, as well as revealing contradictions and weaknesses, experimenting with new techniques without neglecting the concept. By telling her story, we enter into symbiosis with the landmarks that imprint a unique identity to this land in Minho.

The breadth and physiographic diversity that characterize the Melgaço border offered multiple possibilities of passage during the time of smuggling and immigration by leaps and hops. And it is in this mythical place that the roots of a multifaceted artist are born. Madalena Lima infects us with her intelligent, expressive and ironic way of being. Her work celebrates traditions and opportunities, as well as revealing contradictions and weaknesses, experimenting with new techniques without neglecting the concept. By telling her story, we enter into symbiosis with the landmarks that imprint a unique identity to this land in Minho.

Álvaro Cordeiro, a failed and depressed writer, fights against a creative block that keeps him from writing his next book. Leonel Carraça, producer of popular television works, discovers Álvaro and invites him to write his next novel. The writer resists the invitation, believing that his talent is to write the classic "great literature." However, financial difficulties make him accept.

Ensign João Viegas was arrested and sent to fight in the Guinea War during the Salazar dictatorship in Portugal for protesting the regime through theater. Viegas was part of the direction of the Círculo de Iniciação Teatral da Academia de Coimbra (CITAC), an experimental theater group, during a time when the International Police and State Defense (PIDE) had no qualms about censoring anyone who tried to oppose Salazar's regime. After his arrest, the PIDE banned the CITAC. The group only resumed operations after the Carnation Revolution. Decades later, Viegas returned to CITAC to reveal stories of the war and show how PIDE operated. In this re-encounter with History, which the short film “Caixa Preta” reveals, we discover Viegas’ motivations and thinking.

Ensign João Viegas was arrested and sent to fight in the Guinea War during the Salazar dictatorship in Portugal for protesting the regime through theater. Viegas was part of the direction of the Círculo de Iniciação Teatral da Academia de Coimbra (CITAC), an experimental theater group, during a time when the International Police and State Defense (PIDE) had no qualms about censoring anyone who tried to oppose Salazar's regime. After his arrest, the PIDE banned the CITAC. The group only resumed operations after the Carnation Revolution. Decades later, Viegas returned to CITAC to reveal stories of the war and show how PIDE operated. In this re-encounter with History, which the short film “Caixa Preta” reveals, we discover Viegas’ motivations and thinking.

Ensign João Viegas was arrested and sent to fight in the Guinea War during the Salazar dictatorship in Portugal for protesting the regime through theater. Viegas was part of the direction of the Círculo de Iniciação Teatral da Academia de Coimbra (CITAC), an experimental theater group, during a time when the International Police and State Defense (PIDE) had no qualms about censoring anyone who tried to oppose Salazar's regime. After his arrest, the PIDE banned the CITAC. The group only resumed operations after the Carnation Revolution. Decades later, Viegas returned to CITAC to reveal stories of the war and show how PIDE operated. In this re-encounter with History, which the short film “Caixa Preta” reveals, we discover Viegas’ motivations and thinking.

Ensign João Viegas was arrested and sent to fight in the Guinea War during the Salazar dictatorship in Portugal for protesting the regime through theater. Viegas was part of the direction of the Círculo de Iniciação Teatral da Academia de Coimbra (CITAC), an experimental theater group, during a time when the International Police and State Defense (PIDE) had no qualms about censoring anyone who tried to oppose Salazar's regime. After his arrest, the PIDE banned the CITAC. The group only resumed operations after the Carnation Revolution. Decades later, Viegas returned to CITAC to reveal stories of the war and show how PIDE operated. In this re-encounter with History, which the short film “Caixa Preta” reveals, we discover Viegas’ motivations and thinking.