João Gazua

At 63 years old and almost retired, Joaquim is forced to follow job centre rules so he can collect unemployment benefits. Despite knowing that he will never return to active life, he must go from company to company asking for stamps to attest that he is looking for work. In these trips he reminisces about his life as an immigrant to the U.S., where he worked as a cab driver in New York and witnessed numerous Wall Street crashes.

카보베르데 출신의 55세 비탈리나 바렐라는 남편의 장례식이 끝난 지 사흘이 지난 후에야 리스본에 도착했다. 25년의 기다림. 이제 그녀가 고작 할 수 있는 일이라고는 남편의 유품을 정리하는 거다.

원래 마의 황무지는 나훔 가드너라는 농부의 땅이었는데, 어느 날 나훔의 밭 한가운데에 운석이 떨어졌다. 이 운석은 어떤 수용액에도 녹지 않았고, 가만히 놔두면 열을 내면서 증발하여 사라졌다. 분광 스펙트럼을 분석한 결과 지구상에는 존재하지 않는 '색채(Color)'가 있는 것으로 밝혀졌다. 그러나 이후 나훔의 밭은 완전히 못 쓰게 되어버렸고, 밭에서 나는 식물이 괴상한 색을 띄었다. 나훔의 가족들은 점점 미치거나 죽거나 하면서 점점 파멸해갔다. 운석에서 발생한 괴상한 색채에 잠식되어 죽은 존재는 잿빛으로 변해서 부서져버렸다. 나훔의 집을 자주 찾던 아미는 나훔의 집에 사람이 얼마 남지 않은 걸 확인하고는 마을로 돌아가 경찰을 불러 나훔의 집으로 돌아오나, 나훔과 다른 가족들은 모두 죽은 것만 확인되었고, 도리어 색채가 아미 일행이 있는 나훔의 집을 습격하면서 일행은 위기에 처하게 된다. 겨우 뒷문을 통해 나훔의 집으로부터 멀리 떨어진 언덕까지 도망친 아미 일행은 나훔의 집이 잿빛으로 변해 스러지고, 집터 상공에 우주공간으로 연결된 것으로 보이는 포털이 열리면서 색채가 그곳으로 들어가는 걸 목격한다.

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.

A chronology of the Avenue Almirante Reis in Lisbon. Its past and present. A portrait of those that inhabit it.

이윤을 넘어 오직 인간만이 창출 가능한 가치에 대해 논하는 올해의 주목해야 할 포르투갈 영화. 야음을 틈타 기계들이 반출되자 공장 노동자들은 일자리를 잃을까 봐 노심초사한다. 노사 간에 충돌이 일어나고 공장은 반쯤 비게 된다. 하지만 이와 동시에 새로운 비전도 보이기 시작한다. (2017년 제22회 부산국제영화제)

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.

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.

We wanted to make a film about a teenage mother. We met Joana in a casting that took place in Setubal, in the Bela Vista neighborhood. She appeared to us as a porcelain doll, small, fragile, pale, with a little hair bow. Little by little, she crumbled apart, revealing a charming complexity. We were conquered by the duality of strength and fragility, freedom and incarceration, joy and sorrow. The intimacy and complicity we were able to establish with her made this film possible. In Cat's Cradle, we share her with everyone else.

Lives being lived, words, gestures, gazes cross our paths, amidst a chaos en framed by a rectangular grid of windows and balconies. Rows of buildings interconnected by corridors perched over courtyards. Each ones property off their private slice of the view. The geometry of the life of a neighborhood: Bela Vista.

Generation Orchestra is a portrait of the impact of an initiative by the same name students from the Miguel Torga School, in Amadora. The initiative was inspired by the international project Orquestra Simon Bolivar, the apex of the National Network of Youth and Children's Orchestras of Venezuela. Ana, Daniel, Diogo and Monica take part in Generation Orchestra and devote themselves to a project that breaks with the formatted context of public schooling and becomes an indispensable part of their lives. From the onset, starting with Drama classes, we discover their dreams, their relationship with music and their sense of truly belonging to a group.

Olívia is a film student. Newcomer to a new reality, she has an affair with a stranger. This turns to be Cesar, her Filmology teacher, who also requires her to complete a short about Manoel de Oliveira.

Olívia is a film student. Newcomer to a new reality, she has an affair with a stranger. This turns to be Cesar, her Filmology teacher, who also requires her to complete a short about Manoel de Oliveira.

Olívia is a film student. Newcomer to a new reality, she has an affair with a stranger. This turns to be Cesar, her Filmology teacher, who also requires her to complete a short about Manoel de Oliveira.

Olívia is a film student. Newcomer to a new reality, she has an affair with a stranger. This turns to be Cesar, her Filmology teacher, who also requires her to complete a short about Manoel de Oliveira.

Olívia is a film student. Newcomer to a new reality, she has an affair with a stranger. This turns to be Cesar, her Filmology teacher, who also requires her to complete a short about Manoel de Oliveira.

A short film