Tiago Matos

In this film people appear, but only as one factor amongst others. Callused hands sow, weed, build and rake; stooped backs bring in the harvest.

아마존 우림에서 아이들이 자연과 더불어 살아간다. 파스타사강 줄기와 나무 꼭대기를 오가며 생활하는 그들은 협동하며 자율적인 일상을 이어간다.

The economic crisis, a teddy bear with suicidal tendencies named Judy Garland, the Discovery Channel, a black panther and the Russian playwright Anton Tchekhov are all part of the heroic adventure of a little girl who has a problem to solve.

From Sunday to Sunday, the Arcozelo football field is battered by the North wind. The lawn has to be swept and lots of clothes washed. - The boys are coming! - The two equipment managers, São and Cunha, know the name of the little players. Everyone is taken care of and the socks drying on the goals are also to be lent.

“The whistle man” was a typical character of the portuguese sea-side during the Fascist Portugal. His story has so many versions that he has become a myth: A poor crazy man who lost his baby girl, a professional homeless who lived from the charity of rich families, a pedofile or a summer father Christmas. His whistle announced his arrival and attracted boys and girls or made them run away. Last year I found 30 seconds of footage of this man which until then was just a memory. Is he more real now?

이탈리아 북부, 폰 케텐은 먼 나라 포르투갈에서 신붓감을 찾아 나선다. 신혼여행을 마치고 고향으로 돌아온 그는 주교를 물리칠 기회가 왔다는 소식을 듣곤 집을 떠나 전장으로 발길을 옮긴다. 그와 혼인한 포르투갈 여성은 고국으로 돌아가라는 남편의 뜻을 거절하고 10년 넘게 성에 머문다.

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.

몰도바 공화국 안에 위치한 트란스니스트리아는 ‘미승인 국가’다. 트란스니스트리아의 국민인 니콜라이는 어쩔 수 없이 몰도바의 여권을 갖고 러시아와 동유럽 국가들을 여행하고, 그 과정에서 니콜라이는 자신의 정체성을 고민한다. 국가와 국가 사이, 그리고 과거의 공산주의와 현재 사이를 오가는 카메라는 니콜라이의 여정을 옆에서 기록하는 동시에 픽션의 이미지들을 과감하게 삽입한다.

I think I'll remember you, everything, but I'm not sure.

A writer becomes the main character in the story he intended to write

A writer becomes the main character in the story he intended to write

In Hindu mythology, RAHU is the severed head of a demon responsible for swallowing the sun and causing the eclipses. It is also Alex Zhang Hungtai, David Maranha, Gabriel Ferrandini, Júlia Reis and Pedro Sousa, all five in the dark, in circle, vociferating to each other, with their arms their feet their nerves, a growing, raw tension, without term, sipping restlessness through a testimony of the exploratory music in contemporary Lisbon.

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.

Which language shall we use to tell the stories we have been told? In which language shall we write a declaration of love? Lisbon, Bairro das Colónias, third floor. Conveying and translating an insightful encounter between different worlds, Fatumata and Aissato, mother and daughter, discuss love and the happiness. Their feelings have been determined by narratives and languages acquired at different stages of life and in different places. At 7pm, from the third to the fifth floor, where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building.

Two young Portuguese women try to put down roots in Brazil. Teresa is newly arrived; Francisca has been there a while. This sure-footed, loving portrait of two counterparts, attracting and repelling, is also an ode to Belo Horizonte: a city with no tourist attractions, but bags of atmosphere and lust for life.

Two young Portuguese women try to put down roots in Brazil. Teresa is newly arrived; Francisca has been there a while. This sure-footed, loving portrait of two counterparts, attracting and repelling, is also an ode to Belo Horizonte: a city with no tourist attractions, but bags of atmosphere and lust for life.

Shooting on 16mm film in Mozambique, director Ico Costa explores the textures of human behaviour as he follows young men who wonder what lies beyond their immediate surroundings. In the fragments of conversations captured in the Maputo market, a recording studio and on coconut trees, we find daily routines and tedium lead to chit-chat on desire, money and hope. In the interplay between performance and document, poetry emerges from fleeting everyday moments.

The family of Ana Luisa meets at home to celebrate her father's birthday. As the guests sit around the table they will share memories of the past, in which all have a common denominator: the late Josefa, Ana Luisa's mother. Hearing the stories, Ana Luisa realizes the impact that his late mother had on their life choices and imagines what would have happened if she had followed other paths, taken other options and said what was unsaid. At the same time, an event of unknown origin causes a change in space and time, enabling people all over the world the access to parallel universes. Ana Luisa will thus have the opportunity to change the past...

A father's journey to save his son.

Moving and mysterious, Joana Pimenta’s An Aviation Field juxtaposes the natural and the manmade as it links the great utopian modernist project of Brasilia to the volcanic crater in Fogo, Cape Verde, and offers speculative futures for a troubling past.

"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

"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

It's a summer weekend in a country house near Sintra, in Portugal. Fourteen-year-old Nicolau is spending a couple of days with his older brother Simão and his friends, all of them in their late twenties. Everyone is drawn to the beautiful and quiet Maria do Mar, but Nicolau will see his life the most deeply shaken by her. Between homework and tree-climbing, stories about a deceased philandering grandfather and the origins of the tortellini's shape, a friend in a costume nursing a broken heart and seduction games, Nicolau observes this group of young adults.

It's a summer weekend in a country house near Sintra, in Portugal. Fourteen-year-old Nicolau is spending a couple of days with his older brother Simão and his friends, all of them in their late twenties. Everyone is drawn to the beautiful and quiet Maria do Mar, but Nicolau will see his life the most deeply shaken by her. Between homework and tree-climbing, stories about a deceased philandering grandfather and the origins of the tortellini's shape, a friend in a costume nursing a broken heart and seduction games, Nicolau observes this group of young adults.

A young adolescent, living with a swinger couple in a campsite, meets an emotionally unstable man and finds herself fascinated by his special powers.

In Alhambra, between the mountains and the river, a train runs through the village. Oscar, forty-eight years, has worked for the last twenty-fifth years in the same factory, and finds himself awaiting for the resolution of the court on the application of the insolvency of the factory where he worked. With the suspended production and the unpaid wages, Oscar and his colleagues continue to appear daily to work hoping that they can keep their jobs.

In Alhambra, between the mountains and the river, a train runs through the village. Oscar, forty-eight years, has worked for the last twenty-fifth years in the same factory, and finds himself awaiting for the resolution of the court on the application of the insolvency of the factory where he worked. With the suspended production and the unpaid wages, Oscar and his colleagues continue to appear daily to work hoping that they can keep their jobs.

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.

His school is closed. There are no other children on those mountains. To keep studying, this young kid must go to another place - unknown place. He finds haven in places he knows. Deep into autumn and this caterpillar still not a butterfly

His school is closed. There are no other children on those mountains. To keep studying, this young kid must go to another place - unknown place. He finds haven in places he knows. Deep into autumn and this caterpillar still not a butterfly

Mariana is an 11 years old girl coming from Serpa who just moved to Lisbon with her father. The first days are spent in the city cleaning the house and knowing the new neighborhood, Entrecampos. After the first day of school, Mariana gets lost coming home and has to call her father for help. The next day, she becomes friends with a boy in her class, Nicholau, and his older brother, Simão. The two brothers invite Mariana for lunch and help her to get home.

Sebastian is a wealthy young man. He finds out he has a flat tire and ends up accepting help from a Gypsy passer by. In return Sebastian will have to give him a ride home - but they won't reach their expected destination.

'Bué Sabi' (pronounced "bweh sabi") portrays the unlikely friendship of three female characters: a troubled girl of Gypsy descent who lives in one of Lisbon's toughest neighbourhoods, her best friend from Cape Verde and a young middle-class girl. Apart from their differences, they are good friends. Until one fateful night in Lisbon...

Gastón (Jorge Temponi) is very attached to technology and is still in love with an ex-girlfriend who left him. He inherits an old house from his grandfather far from the city and must travel there accompanied by Américo (Carlos Frasca), a clerk somewhat depressed by his old age. The driver and owner of the truck in which they travel is Beto (Jorge Esmoris), a carrier with a somewhat murky past. The place where they are going was visited by the English naturalist Charles Darwin in 1833, where he collected fundamental information to later develop the theory of evolution.

A portrait of the daily lives of young people living in a new-built estate on the outskirts of Lisbon. School is a joke and there’s no work to be had anyway, so the girls try to have fun as best they can. New-girl Eva is very pretty but quiet. The others aren’t sure at first whether she’s arrogant or just shy. Iara and Eva head off to the beach with two boys. The lads turn a couple of abandoned shopping trolleys into racing chariots for them and the atmosphere begins to tingle. Later, they argue with the rest of the group. The other girls manage to get into a club that night but the boys don’t and must kick their heels outside. They’re bent on revenge. They meet up with Eva and go back to her place.

A portrait of the daily lives of young people living in a new-built estate on the outskirts of Lisbon. School is a joke and there’s no work to be had anyway, so the girls try to have fun as best they can. New-girl Eva is very pretty but quiet. The others aren’t sure at first whether she’s arrogant or just shy. Iara and Eva head off to the beach with two boys. The lads turn a couple of abandoned shopping trolleys into racing chariots for them and the atmosphere begins to tingle. Later, they argue with the rest of the group. The other girls manage to get into a club that night but the boys don’t and must kick their heels outside. They’re bent on revenge. They meet up with Eva and go back to her place.

According to the perpetual lunar calendar: 'When sparks catch a pot of water, it signifies wind. When the hills echo loudly and the sea generates great noise, it signifies tempestuous winds and storms at sea. When dense fog forms at dawn, it signals two days' serenity.' Let’s wait and see.

하울 브란당의 희곡을 영화화한 작품. 아내와 딸과 함께 조용히 살아가는 게보에게는 사실 8년 전 집을 떠난 아들 주앙이 있다. 그런데 어느 날 밤, 주앙이 아무 일도 없었다는 듯이 집으로 돌아오고 이때부터 말로 설명하기 힘든 이상한 긴장감이 발생한다. 한정된 공간 안에서 벌어지는 인물들의 미묘한 심리 변화가 돋보이는 작품. (2014 한국시네마테크협의회 - 마누엘 드 올리베이라 회고전)

The short life of the Uruguayan poet Delmira Agustini is colourfully portrayed, not as a conventional biopic, but as a visual poem which evokes the turbulent life and complex personality of the literary heroine as she develops her genius for writing.

Com Que Voz is a documentary that recounts the life of Alain Oulman, an important cultural figure during the nineteen-sixties and seventies, who left an indelible mark on Portuguese and French society. The film, shot in Lisbon, Paris and Tel Aviv, features celebrated authors, politicians and musicians, such as: Patricia Highsmith, Amos Oz, Amalia Rodrigues and Mario Soares.

Ana Vieira's place in Portuguese art is unusual: working the trail, the shadow, the passage of light (or bodies?), the reflection, the overlap, the footprint, the memory or planning of the future, her art streak the invisible. And it questions the place of art - and of the viewer, always placed "outside" or with the awareness of "off".

The atelier of the painter Gonçalo Pena merges into his work. The space's occupation is divided between the solitary and silent moments devoted to painting and the shared moments devoted to conversations with all those who visit him.

Based on photographs taken on the arrest of political prisoners during the Portuguese dictatorship (1926-1974), this documentary aims to convey the mechanisms by which a dictatorial regime sought to sustain its existence throughout 48 years.

Tizangara, Mozambique. After the peace agreement. A mystery. UN soldiers exploding. An investigation is begun and Massimo is appointed to solve the mystery. Joaquim will have to translate, not only the words but the facts, in order for him to understand.

Every year, in the province with the highest rate of desertification in Portugal, thirteen villages of the border rejuvenate a bullfight with unique characteristics: the Capeia Arraiana. The butlers prepare they party and contribute to the ethnographic heritage, starting a ritual of emancipation where we can see confrontations with the force of the bull. Several men wear a rudimentary object made of wood, and fight the bulls that are brought in, often from Spain. The villages compete against each other in search of the Best Capeia of the Year.

All sympathetic magic is based upon two principles: the first called the Law of Similarity says that “likes produce likes,” or that an effect resembles its cause; the second, called the law of contagion or contact says that all things having been in contact with each other continue to react upon one and another at a distance even after they have been severed or disconnected. A fearful man meets a disquiet woman. Do you believe in magic?

April 1974 saw the fall of a long lasting dictatorship. The young democracy developed in the midst of much social and political turmoil. The armed wing of a leftist group changed the future of one family - the father disappears without trace, the mother denies their past, and the son grows up with unanswered questions. As a young man, Pedro is determined to reach for answers, aided by his apparently batty grandmother. Collecting clues and meeting people who would rather prefer to remain forgotten. His inner journey leads him Portugal to Spanish through the deserted roads of Alentejo. Pedro will find himself, but there is a price to pay.

Bartolomeu Cid dos Santos (1931-2008), engraver, painter, is one of the great artists of the 20th century. His world is the crepuscular world of the end of the Portuguese Empire, he who created the first metaphors against the Portuguese Colonialism. And who, with constant vitality, has opposed himself against the New World Order. Knowing, with Eliot, that “the past and the future time are both always present on the present time”

How to represent an artistic intention without reducing it to a description? How to do it preserving the intentionality of the gestus in an ambiguous andsubjective space where the individualism of the artistic perspective is set. “my maladresse…” proposes a viewpoint over Ana Jotta’s universe. An analogous portrait of her relations as an artist is created, setting parallel questions, as hermeneutics possibility and art as a value system. The link relating the trio (artist and director’s deuce) balances between familiarity, master and apprentice, subject and object; the distance and authority of the one behind the camera spreading light around artisticurgencies concerning how Work and Life overlay in this unquiet chase of the greater purpose: a search for consolation in the holy_burlesque of existential functionalism. A documental laboratory of reflexive limits.

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

Fernando Lopes in the first person: through his words and films, from the village where he was born until Lisbon of present time, we discover the themes and emotions of the work of one of the main authors of portuguese "Cinema Novo".

Lúcia is misbegotten, unloved and the eternal widow of her own father. A cry of rage in bodily form, she is mad, maltreated and humbled. She wears mourning in remembrance of her mothers crime and betrayal, and gives vent to her inconsolable pain to make sure theres no rest or respite for the killers of her father. She lives in hope of her brothers return so she can fulfil her promise of avenging her fathers blood.

Sonia, a girl from St Petersburg, decides to seek a better life in western Europe. She first gets a job at a car dealer in Germany. But she is suddenly kidnapped and sold into sexual slavery. She will be dragged from country to country and resistance will only bring her misery and humiliation.

In a run down neigbourhood in east LISBON (chelas), a public square undergoes rennovation work which lasts three years. In this space, designed in pink, a depressed community, concentrated on their daily routine, lives out their lives increasingly indifferent to the outcome of the interminable public works.

A disturbing film about the Portuguese underworld of prostitution.

Lisboners (people of Lisbon) celebrates the ancient notion of citizenship, the right to the city in the making, in each migrant’s daily life, living and working. It is set in Lisbon but it happens in London, New York, Paris, Rome… anywhere. The Lisboners are people from Brazil, Guiné-Bissau, Nigeria, China, Pakistan, India and Bangladesh, Ukraine, Moldavia, Russia, and Estonia.

Sonia and Branca are two close friends at their thirties's sexual peak, on the verge of their cosmopolitan loneliness. Despite the long relationship that keeps them together, they are so distant, that it's as if they didn't really know each other. Cronica Feminina (Women's Tales) is a dramatic comedy that talks about women, but essentially approaches, from the point of view of its characters, the human need to communicate, seduce, fantasize, the need for love in the bottom of all things

An artistically shot film that slowly blurs the boundaries between dreams and reality as it builds into an unnerving then touching climax.

Two friends, Nuno (Pedro Laginha) and Flash (Miguel Borges) live together and decide to rent one room of the house in order to have more money to pay the rent. that's when they meet Carla (Maria João Bastos) who might change their lives forever.

The relationship between António and Ruth ends unexpectedly when Ruth decides to live with Pedro, António's best friend. António doesn't fight back and lets himself drown. From the woods come Violeta and Gaspar, two strange beings, a mixture of fairies, demons and guardian angels, who help António overcome his depression. With the thunders the two characters return to their domains. And life goes on.

Amo-te Teresa tells the forbidden love story of Teresa and Miguel, aged 35 and 15, respectively. Teresa is a doctor and, after a frustrated love life, she decides to abandon Lisbon and returns to her native land. Immediately, a strong attraction forms between Teresa and Miguel, a friend of her oldest son.

Zé Alberto and Laura are lovers, and have a clandestine and permanently threatened relationship. Zé Alberto is married to Fernanda, Laura's sister, whose husband is in prison for murder. Fernanda is aware of Laura's relationship with her husband and constantly threatens them to tell Armando everything. Laura and Armando have a daughter - Sónia - whose greatest defect is greediness and the highest quality to cover up her mother's romance with her uncle. The fear of the two lovers increases and events precipitate when they receive the news that Armando is about to go on parole ...

Lisbon has the second largest community of Hindus in Europe. This film portrays this community, focusing on a family originally from Diu, who then emigrated to Mozambique and then, in 1976, to Lisbon. The film portrays the contrast and conflict between this group of Diu families, low caste with the Lohanas group, the merchants caste. A new temple is being built, however in the courtyard of his house the family Carsane still makes its parties and alternative rituals ....