João Pedro Bénard

Oscar, a renowned hypnotherapist, uses the last moments in his hotel room to say goodbye to the vertiginous Mercedes and rid old Norberto of his bitterness.

'In the course of my cleaning duties, I examined the belongings of each guest of the hotel and observed through the details, lives that will remain unknown', says the temporary Chambermaid in a large seaside hotel, which, unable to communicate, lives through a rigid methodology of analysis of the exterior and a ritualised quotidian. Until the uncontrollable comes to disrupts this dynamic. Hotel Royal is fragmented and incomplete mosaic of contemporary societies. It could be dubbed a film about the horrors of the soul, about voyeurs or simply about misfits.

Patrick, 20-years-old, lives in Paris with his older boyfriend. He runs a teenage pornography website, which results in a prison sentence following a raid at a party. Mário, 8-years-old, was kidnapped 12 years ago in Portugal. Patrick and Mário are the same person with two conflicting identities: a life in Paris filled with parties, drugs, and promiscuity and a new rural life in Portugal, where he feels obliged to reconnect with a broken family.

Alentejo, Portugal, 1950. In a desolate region, where the wind seems to speak, where misery and hunger reign over poorest, a desperate man takes his revenge on those who caused his ruin during the darkest night, unable to get honestly the bread needed to feed his family in the daylight.

Ramiro is a bookstore owner in Lisbon and a poet in perpetual creative block. He lives, somewhat frustrated, somewhat conformed, between his shop and the tavern, accompanied by his dog, his faithful drinking companions and his neighbors: a pregnant teenager and her grandmother recovering from a stroke. He would gladly continue living this quiet and somewhat anachronistic routine if events worthy of a soap opera did not invade his bubble.

Paulo works as night security in a deactivated industrial complex. He lost his daughter in dramatic circumstances, and no regrets would console him. He sleeps at Luisa's house and witnesses the repeated transgressions of an unstable neighbour. Everything threatens to crack.

In 1783, naturalist Alexandre Rodrigues Ferreira travelled to Amazonia. Centuries later, all that remains from his Philosophical Journey are the artifacts belonging the tribes he studied and the animals and plants he brought over to Portugal, evoking a distant Amazonia and an expedition that went on for nine years.

A man, Francisco, works in an open-pit mine. He goes to see his boss about taking the following day off. At first the boss doesn’t want to allow it as there is so much to do, but he finally concedes. The next day his daughter calls on him, a visit he no longer counted on. They spend the day with one another. The longer they are together, and the later the night gets, the more absurd the situations and moments they experience become.

In love with Trás-os-Montes and with his Guide of Portugal as a source of inspiration, Miguel looks for stories for his new documentary. One day, the appearance of a man riding a donkey changes his future.

"In the beginning of this project, I wanted to do a documentary film based on this book by Luiz Ruffato. However, I ended up doing a feature film with many links to documentary. I wanted to know what made Brazilians want to emigrate to Portugal. I chose working with amateur actors and non-actors in both cities, so their own life stories and experiences could be in the film. I did the other way round from the writer. He found these people and made them characters of his book. I looked for people who had similar stories to those described in the book, and made them characters of my film. When I read the book, I was seduced by its "false documentary" characteristic. The book was all written as if it was the transcription of an oral interview the writer had done in Lisbon. I decided to keep this narrative in the film, by a narration with the main character talking to the camera. It's a film about emigration. About dreams and disappointments," says Barahona

Director Manuel Mozos draws an intimate portrait of João Bénard da Costa, programmer, critic, actor and, for 18 years, director of the Portuguese Film Museum, who passed away in 2009.

In which Scheherazade tells of how desolation invaded men : “It hath reached me, O auspicious King, that a Judge will cry instead of giving out her sentence. A runaway murderer will wander through the land for over forty days and will teletransport himself to escape the Guard while dreaming of prostitutes and partridges. A wounded cow will reminisce about a thousand-year-old olive tree while saying what she must say, which will sound none less than sad ! The residents of a tower block in the suburbs will save parrots and piss inside lifts while surrounded by dead people and ghosts; including in fact a dog that…”. And seeing the morning break, Scheherazade fell silent.

Certainly an outstanding case of beauty and mystery, this short film by Mozos creates a strange alloy of literature and cinema, and not in the way one discipline is a vampire for the other, but rather as if they were the different faces of the same coin, drawn to coexist and repel each other. As if every film belonged to a lonely species, Ashes and Embers shows a unique arrogance as it trembles, somewhat defenseless, with no certainty that the folds of fiction constitute any kind of survival guarantee for such strange objects. Memory and ghosts are two words that are easily said, but in this singular and very refined film they seem destined to become the ultimate goal of cinema, and its most endurable desire.

1920s. Vitalino, a small farmer from São Vicente sees his father die of the epidemic which decimated the country. Some years later, of all the brothers, Vitalino is the strongest and takes his father’s place in the house. But the village is too small for his aspirations and he decides to head to Brazil, leaving his sisters in charge of the household. In parallel with Vitalino’s story, If I Were a Thief… I’d Steal portrays the world of Paulo Rocha rummaging through his films and ghosts over the years.

Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

Maria, a Ukrainian doctor, comes to Portugal to spend a year with Greco, her husband who is also a doctor. Upon arrival at Faro airport she is the only person from Kiev approached by agents of Immigration and Customs that lead her to a room of interrogation, without any explanations. All this occurs because the authorities suspect that something illegal should be behind her trip, since she is from Eastern Europe and her husband is Senegalese.

Diana is a young woman about to enter adulthood. She lives with her father, Gabriel, a game machine dealer, and Magdalene, the stepmother, alongside those working in a hair salon in a shopping center. One day, Diana discovers that Magdalene not only keeps a secret relationship with Michael, the security center and instructor in the gym of the neighborhood, as resumed his old habit of playing. Not to allow the stepmother to his father do the same as her mother had done to her, Diana decides to intervene, approaching the Magdalene lover.

A and B get on the train, full of excitement Love and jealousy/Ashes and fire/Pain and sin Just before it leaves, C boards too. All this exists / All this is sad / All this is fado.

Francisco, behave! I Know it's your birthday, you are thirty now, it's carnival, you've dressed as a cowboy for the school party and you are surrounded by kids you hate. But that's no reason to be so annoying... Francisco, repeat after me: "Up to your 30s you have the face God has given you. After that, you get the face you deserve".

Arriving in a hotel in the city of Faro, a couple learns there are no available tables left. When another couple agrees to share a table, they spark a conversation on the city’s history, unfolding the tales of King Afonso III, who betrays his wife, and of a Moorish woman, who betrays her father.

Arriving in a hotel in the city of Faro, a couple learns there are no available tables left. When another couple agrees to share a table, they spark a conversation on the city’s history, unfolding the tales of King Afonso III, who betrays his wife, and of a Moorish woman, who betrays her father.

In mid-September 1992, journalist Guida Fontes have to go to Luanda to cover the elections in Angola. In the meantime, she had committed herself to discovering and interviewing the poet Júlio Vera. In 1988, he wrote a series of poems in which he mysteriously anticipated the fall of the USSR. Guida has only 12 days to complete the mission.

In mid-September 1992, journalist Guida Fontes have to go to Luanda to cover the elections in Angola. In the meantime, she had committed herself to discovering and interviewing the poet Júlio Vera. In 1988, he wrote a series of poems in which he mysteriously anticipated the fall of the USSR. Guida has only 12 days to complete the mission.

Vanitas is the new feature film by veteran Portuguese director Paulo Rocha. With a script by Regina Guimarães, the film brings together actresses Isabel Ruth and Joana Bárcia – no strangers to this director's world – in a story about a depressed fashion designer who falls in love with the daughter of one her tailors.

A policeman lunching with his daughter is present when a dead body washes up on shore. He investigates, leading him down a twisted and muddled path of nefarious connections reflecting, somewhat, his own life.

A policeman lunching with his daughter is present when a dead body washes up on shore. He investigates, leading him down a twisted and muddled path of nefarious connections reflecting, somewhat, his own life.

A largely plotless, fado-scored journey through the gloomy cobblestone streets, zombie bars, and fetid basements of a sordid harbor town populated by German-speaking sots and Portuguese guest workers. An unhappy young couple, Leni and Anton, quarrel and split separately into the rat’s ass of the evening. Everyone is looking for love, but no one finds any—although Leni does pick up a trick.

A documentary about a family of goat herders in Portugal and the relationship between man and animals.

Carolina, an aging local grande dame who works at a crossing point on the titular river, marries another late-in-life character, the dredging-boat operator Antonio. Not long after their union, she becomes intensely jealous of Antonio's fondness for their winsome goddaughter, Joana, and insinuates herself into a relationship brewing between Joana and a mystical gypsy gold salesman. Soon, tempers are flaring, mystical secrets are being revealed and death is hovering over the central characters.

In the quietness of rural life, small disputes about the right to use a rivulet may take the proportion of a life-and-death matter..

11th century. Descended from the aristocracy, Alexis flees a world dominated by money and strength. The young man, in love with justice and freedom, sets off on the roads to discover the world, abandoning his wife and family.

The story of a child who faces the emptiness that surrounds the figure of his parents, disappeared in Africa.

Xavier returns to Lisbon after a military stint, determined to lead a meaningful life, only to find his world closing in on him.

Xavier returns to Lisbon after a military stint, determined to lead a meaningful life, only to find his world closing in on him.

Freely based on Gide ('Paludes') and Hawthorne ('Wakefield'), this is a film about a writer who never wrote anything and who blows at nightfall the breath of frost. The poem by Carlos Queiroz to which the above sentences belong is not cited in 'O som da Terra a Tremer', but the atmosphere is that, between written letters never received. Fiction within fiction, stories within stories, like those Chinese boxes in which there is always one inside another. Or the two margins of the same river, always being lateral.

A satirical and delirious short which sums up the obsessions of João César Monteiro: film-making and… young women.

Coming from Fundão to Lisboa where he did conscription service, Matias found that the reality of the big city is not exactly how he remembers

Nogueira, a man in his fifties, is a relic of times long past. While the youngsters at the school where he works as a caretaker still think the world is their oyster, Nogueira knows that, for him, most doors have long closed.

Lisbon, 1989. A middle-aged poor man, tormented by an illness, lives in a cheap room in a family boarding house, in the old section of the city's waterfront.

Lisbon, 1989. A middle-aged poor man, tormented by an illness, lives in a cheap room in a family boarding house, in the old section of the city's waterfront.

Laura lives in the country with her considerably older husband. When Nuno, her brother who study in Lisbon, pays a visit, he realizes that his sister does not have a happy life. He initiates a friendship with a worker on the farm. The circumstances turn Laura and Nuno against each other... Portrays the repressed sexuality and homosexual desire in a rural setting and elliptically and delicately the small farming community that serves as the backdrop for the impossible relationships pursued by Laura and her brother.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

12-year-old Miguel is punished because he has not done his homework properly: he must stay at his aunt's inn for holidays. First bored, then a friendship begins between him and other inn's regular holiday-makers, like maid Luisa or fisherman João. But doctor Fernando's arrival is going to overwhelm the place's peaceful life and to change Miguel's mind.

When the child Manuel wanders into a garden that is off-limits to him, he meets an unidentified fisherman, and another boy -- the boy is actually himself several years down the road. Manuel experiences three different versions of his encounters in the garden, revealing that fate can have several twists and turns in one's life, depending on decisions that are made early on.

A man exiled in Paris makes various trips to Portugal after the Carnation Revolution. Each trip is represented by a woman.