Paulo Abelho

The revolutionary Álvaro Cunhal, symbol of Portuguese communism and political giant of the 20th century. He is nothing less than a larger-than-life figure, now examined by João Botelho’s camera, in a detective-minded film, in which the early years of the life of the historic leader of the Portuguese Communist Party are explored. In between, excerpts from his own books are staged for the spectator.

Fernando Pessoa, one of the greatest writers in Portuguese, created an immense parallel world and several heteronyms so as to endure the loneliness of genius. José Saramago, 1998 Nobel Laureate in Literature, has a heteronym, Ricardo Reis, return to Portugal after a 16-year exile in Brazil. 1936 is a perilous year with Mussolini’s fascism, Hitler’s Nazism, Spain’s Civil War and Salazar’s New State in Portugal. And Fernando Pessoa meets his creation, Reis. Two women, Lídia and Marcenda, are Reis’ carnal and impossible passions. “Life and Death as one” allows for literature and cinema.

Ariel de Bigault's work has been connected to the routes of the Lusophone World. In Fantasmas do Império we are guided by the saotomean actor Angelo Torres through some works of the Portuguese cinema that explored its colonial past. Some directors as Fernando Matos Silva, João Botelho or Margarida Cardoso help to understand imperialism, colonialism, and propaganda seen through the "family album" which is the Portuguese cinematic collective imaginary.

This documentary portrait covers all the themes of Daveau’s rich life: from her field research and private life to feminism and the influence of the modern age on family relationships and science. Her passionate life is examined in detail in an inexhaustible series of stunning archival photos and home videos recorded by Daveau, and in voice-over she speaks openly, extensively and full of wonder about life and the world around her.

Francisca, a beautiful 50-year-old widow (played by Maria de Medeiros), prepared a peaceful future for herself. In an unexpected outburst, she grabs an opportunity for change and embarks on a sailboat called ‘Hovering Over the Water’.

1537년, 27살의 페르낭 멘데스 핀투는 부와 명예를 찾는 새로운 모험을 위해 인도로 항해를 떠난다. 시간이 흐른 뒤 그는 긴 항해 동안 겪은 잊을 수 없는 사건들을 책으로 옮긴다. 주앙 보텔료 감독은 이 책을 바탕으로 페르낭 핀투의 모험을 영상으로 옮기는 한편, 이 책이 쓰여진 당시 상황에 대해 자신만의 상상력을 더한다.

“An old photograph taken 36 years ago. His hand rests on my shoulder. A blessing, a gift. Then a history of over four decades of friendship, admiration and apprenticeship. A journey into Oliveira’s cinema, his method, his way of filming and his extraordinary cinematic inventions. He lived for over a century, over a century of cinema, cinema in its entirety. For him, and for me too now, documentary and fiction films go hand in hand; it is all about cinema. So I had the audacity to film a magnificent story that Manoel loved but never filmed, one that he left behind as if his hand and eyes were close to God, or among the gods, and he was steering me.” - João Botelho

This documentary follows a group of habitants from Cova da Moura neighborhood into a journey to Cape Verde, to celebrate St. John festivities. Recovering the rituals and rhythms of these festivities, the cape verdean people living in that neighborhood near Lisbon, try to recover their roots and transmit it to their children.

Five lives cross each other in the labyrinth of the suburbs in search of their redemption.

Documentary about the old people living in the highest floors of old buildings with no lifts, in Lisbon.

In greater Lisbon area, the name Cova da Moura has never been synonymous with well-being, education or prosperity. on the contrary, it has always been associated with the idea of violence, insecurity, danger or, at best, with lack of education and sheer poverty. Cova da Moura Island follows this neighbourhood's daily life, finding the cape verdean reflections in it and searching for the ways in which social exclusion is fought or perpetuated in the lives of its residents.

A journey inside the tram crossing the city of Lisbon while listening to fragments of Fernando Pessoa's poetry.

Fernando Lemo's world is fiercely stripped of any external logic, as Jorge de Sena once said. His artistic gesture blends with his own existence, where the poetic principle comes first. And with the light that insists to come through the half-closed door, the fear of life is vanquished in the battle fought with death. Thus, each word is born within another word and each image within another image. Out of how many knives is love made, the poet wonders?

"Come and see this world end!" - wrote the the priest António Fontes, father of folk medicine and "burning witches" in Vilar de Perdizes, a desperate plea in his precious monograph of the Barroso region. And I (João Botelho) went. Then I saw the people and the land. Haunting on discovery. Heart sank. "God is good but the devil is not so bad!" - We learned from this Community habits and that is great, tough and generous. And I also learned that no fairer place for a demand of life and even the elusive happiness there, I assure you, it is always possible.

Follows the creation of a stage play adaptation of "Moby Dick".

“Manual of Evasion LX94” is a thought-provoking Dadaist film about time by the Portuguese director Edgar Pêra. It was shot in Lisbon in 1994 and stars Terence McKenna, Robert Anton Wilson and Rudy Rucker. Time is explored from many unusual angles, while Pêra fills the screen with a wide variety of bizarre and mind-warping imagery.