Jorge Quintela

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

호르헤는 에리크 로메르가 쓴 유일한 희곡인 "내림 마장조 삼중주"(1987)를 영화로 제작하고 있다. 아델리아와 폴은 이혼한 지 오래다. 어느 날, 아델리아가 폴을 찾아온다. 이들은 1년 동안 일곱 번 만난다. (제23회 전주국제영화제)

The art of memory is a classic technique that associates images with places through a process of remembrance and meaning. From the memory of places and their context, the documentary delves into the creative process of three contemporary visual artists: Daniel Blaufuks, Pedro Bastos and José Rufino. Despite the different expression approaches of each author, we find points of communication in the way memory operates in their works. By rummaging through the hazards and disorder, we arrive at the director's personal mythology, assuming that memory is a fiction like any film.

파울루 호샤는 자신만의 독특한 시선으로 삶을 바라보고 이를 영화로 치환한다. 영화는 파울루 호샤의 삶과 작품에 깊이 천착한다. 그는 포르투갈 영화의 첨단에 선 감독으로서 훗날 ‘포르투갈 뉴웨이브 시네마’라고 불리게 되는 새로운 영화 운동을 주도했다.

In a parallel world Pedro tries to hack his way into joining an exodus to another planet. While he dwells in his dreams and frustrations of being left behind he meets Eva, who challenges him and forces him to come to terms with his purpose.

A compilation of films project multiple versions of people won by vida.

In a rural landscape, that resembles an old Portugal, an elderly man find out that his wife, whom he believed to be dead, was seen shopping in town. Spiteful and sad, he wants to hide from everyone, but his friends insist that he uses this situation to become stronger and try to get married again.

A mysterious shadow unveiling a female figure walking naked towards us in the desert. In another sequence, the same woman speaks on the phone, talking about the end of the world. In a third moment, a couple prepares breakfast in their apartment, with the same woman from the previous sequences embracing a baby. What will these three narrative moments have in common? What is the relationship between them? Everything and nothing. Is the answer in the woman’s emotional words on the phone? Or in her helpless expression when walking naked? Or in the happiness she seems to find in the domestic routine? Perhaps the charm is really not in trying to decipher, but in getting lost in this visual and impressionistic poem, this shake that slowly expands in our senses. Max Planck, one of the founders of the ancient quantum physics theory, said that energy has a discontinuous structure and can only exist under the form of fragments. These are the fragments that hide here an ethereal promise.

Ribeira Quente is a fishing village in S. Miguel Island in the Azores facing the last days of a fishing activity as they know it.

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

Teresa evokes a memory. A memory as a place of resistance. A memory suspended in space and time. A place one can return to. The fragmented image of an intimate record. The impression of moments forgotten in time but ready to emerge from oblivion—moments that allow us to build a possible history: the history we want to see. – Tânia Dinis

Azarias is a young orphan shepherd, keeper of a herd of oxen, where the ox Mabata Bata stands out. The oxen will be the basis of the "lobolo" payment, a traditional dowry that his uncle Raul must pay for his own marriage. Azarias’ dream is to be a normal child, to go to school, gold that is supported by his grandmother. One day, when Azariah is in the pasture, Mabata Bata steps into a mine - the result of the civil war in the country - and explodes. The young man fears his uncle's reprisals and flees to the forest, taking with him the remaining oxen. The grandmother and uncle leave in their quest to rescue him and persuade him to return.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical) Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary.

Using a mix of Hollywood aesthetics with documentary strategies, the film follows a young indigenous girl from the Xingu National Park to São Paulo, where she falls in love with a robot that also happens to be a stand-up comedian. This strange story mixes the anthropology of humor, indigenous communities, and artificial intelligence.

A look back at the history of Brancusi's futuristic golden bronze phallus "Princess X" that is in fact a bust of Napoleon's incredible great-niece, Marie Bonaparte.

정치적 이유로 망명을 떠나야 했던 포르투갈의 시인 호르헤는 소피아와 약 20년간 편지를 주고 받으며 우정을 나눈다. 시인 소피아 안드레센과 호르헤 데 세나가 주고 받은 실제 편지들을 바탕으로 만들어진 독특한 형식의 영화. 여러 출연자들이 각자의 공간에서 편지를 낭독하는 가운데 과거 포르투갈의 기록 영상, 뉴스 클립 등이 섞여든다. (2017 포르투갈 영화제_포르투갈의 여성 감독들)

Penumbria was founded two hundred years ago, in a distant istmus - a place of arid soils, angry seas and violent weather. The city was due its name to the almost permanent shadows and cloudiness. One day, its inhabitants decided to leave, offering Penumbria to time. This is the story of an uninhabitable place.

A delirious sci-fi riff on the Arabian Nights' 'Tale of the Hunchback', that submerges us in a technological dystopia reigned by Dalaya.com, a mega-corporation that forces its employees to 'relax' at company-run medieval reenactments.

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

"Wood was uninterruptedly burning in the home, of that centrifugal place whose actors still offered new worlds to the world born from the sweat of their brows and the clandestine sap of their dreams." Regina Guimarães

A boy from Vila do Conde records a love letter on a cassette. His voice blends with music, archive images and stories from the past, some lived and others heard.

Constantino works as a keeper of flocks during the day and as a keeper of a museum during the night. He works continuously since he has nowhere to live. Aurora passes by him every morning and end of the day. One day she is brave enough to talk to him.

영화제 때문에 방문한 리스본에서 평범한 듯 예외적인 시간을 보내는 배우, 두 명의 리스본 관광 가이드들 사이에 벌어진 일, 타인의 꿈에 들어갈 수 있는 이상한 기계, 인어와 가면을 쓴 남자들이 벌이는 비현실적 모험 이야기가 차례로 펼쳐진다.

A headlong dive into the deepest, silliest recesses of Abrantes’s unconscious.

Abel Salazar, a scientist and an artist persecuted by the Fascist regime in the 40ies, is trying to finish a portrait, obsessed by the face of a woman. Ana, a young researcher in the present days, is dreaming about him. Or is it the other way round?

Your past already is the projection of your future. However, it was never more than a light in the sky.

A carousel-esque pocket-movie set in a Florentine piazza.

A carousel-esque pocket-movie set in a Florentine piazza.

A carousel-esque pocket-movie set in a Florentine piazza.

A carousel-esque pocket-movie set in a Florentine piazza.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

Two childhood friends grew up and face strange feelings now. One of them tries to explore that feelings by words and their relationship becomes uncomfortable. When the words stay in silence they discover what they are looking for.

Generational conflict within people who live for the countryside, in the countryside. The director and her grandmother.

Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.

A ghostly meeting with Luís de Camões, the one-eyed adventurer, widely considered Portugal’s greatest poet. Luís de Camões is considered Portugal’s national poet, an equivalent to England’s Shakespeare or Spain’s Cervantes. João Lopes’s film takes us on an otherworldly journey to Camões’s five-hundred-year-old epic Os Lusíadas, which he composed in Macau whilst he was stationed in the colony.

This is the story of a man who after living over ten years isolated away from his country, returns to avenge His brother's death. Inspired by the writings of David Henry Thoreau, he is translating 'Civil Disobedience' into Portuguese. The action is set between 1908 and 1910, between the assassination of the Portuguese King and Prince and the creation of the Portuguese Republic, an era where anarchists who fight against the monarchy often cross the path of burglars. On a country where corruption is set, the state representatives try to rob, arrest and kill innocents. The main character faces the tyranny of the state and tries to save the rest of his family. But this is a country where nothing changes.

An effervescent painterly film tribute – replete with driving organ soundtrack – to 18th-century poet and satirist António Lobo de Carvalho, otherwise known as The Wolf of Madragoa.

The story of a vigilante friar, zealous caretaker of goodness and order who, after suffering unrequited love for an engaged woman, becomes a terrifying villain in a quiet town.

Caught in time, a trio of prehistoric characters lives around a dolmen. One of them, who is hyperactive, tries to stir his mates emotions with inventions and works of art. A strange object made out of bone, which re frames reality, will trigger greed and envy in them. Super 8 allegorical on Portugal, and the collective behavior of its people.

Based on the installation Santa Paz Domestica, Domesticada by Ana Vieira (1977) and excerpts from the September 22nd, 1956 issue of the magazine O Cruzeiro.

It is not the landscape that changes. Every service station is a service station. What changes is being in movement.

It is not the landscape that changes. Every service station is a service station. What changes is being in movement.

A pocket movie on a train between two stations in Berlin.

Crime Blue Abyss Physical Remorse is inspired by the life and works of Amadeo de Souza-Cardoso. This controversial 20th century painter defied the world avant-garde of his time: “I don’t follow schools. I am an impressionist, cubist, futurist, abstractionist. A melting pot. The real tradition is not to try and relive the past – which is impossible to achieve – but rather something that sets up a follow-through, as happens with parents and children. A child and his father are never alike.” The film follows Amadeo’s motto. It crosses pictorial fiction – suggested by the emblematic picture “The Procession”, painted in Paris in 1913 – with Portuguese contemporary reality.

In a lake surrounded by buildings, a man builds a boat.

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.

He is a miner, everyday tries to go with the river flow. She dreams of escaping too, but she’s trapped...

In a mental institution a man flies forever. Shot in the psychiatric hospital "Conde Ferreira" in Porto.