Francisco Moreira

Two men and a bird, trapped in a snowstorm in the middle of nowhere, try to solve a mystery while it slowly devours them.

포르투갈어로 ‘사우다지(saudade)’는 사랑하는 사람의 부재 시 느끼는 상대를 향한 갈망이자, 아픈 기억이 주는 행복한 느낌을 뜻한다. 변신은 섬세한 시각적 아름다움과 함께 이 번역할 수 없는 단어, 사우다지가 가득한 한 가족의 내밀한 이야기를 들려준다. 열일곱에 어머니를 잃은 감독은 서른여섯 살에 갑작스럽게 어머니를 잃은 아버지를 떠올리며, 자신이 만나지 못한 할머니의 형상을 찾아 허구와 실제가 혼합된 영화를 만들었다. 편지를 읽는 목소리들을 통해 전해지는 가족의 연대기는 한 편의 동화같이 사랑하는 이의 상실이라는 불행뿐만 아니라 가족 안에 행복했던 순간을 드러낸다.

For her newly commissioned video "Night 4 Day," Wardill has used the fake relationship between a mother and a son to think about what would happen if a communist revolutionary gave birth to a techno utopian, if gender as performitivity was thought through the lens of women making the political decision to live clandestinely in Portugal for a larger part of the 20th century and if the "Last Woman" were the fem bot from "The Tales of Hoffman."

Castuera, Spain, April 1939. During the night two Falangist Guards appear at the door of the house where Paz is taking refuge with her family. They request her presence at the police station. Paz immediately understands the fatality of this visit. With no chance to escape, she asks to breastfeed her newborn daughter one last time.

Henrique lives alone in the mountains in Portugal. Having his children been taken away by the social services, one day he searches for the psychologist in charge of the process to get some sort of vengeance. From then on, he hides in the forest for several days, trying nothing but to survive.

Started in 2018, the project – comprised of 11 segments by filmmakers from all around the world – reflects on the intertwined relationship between human society and nature that is aggravated by climate change on multiple scales, hinting at possible solutions.

A dark comedy about a family of five brothers, a single and unemployed mother, and a grandmother. They live tight in a small apartment in Benfica. Everything gets complicated on the day when the emblematic Sardoal FC mascot escapes and the club is at risk of losing the championship..

Cunning and slender, harassed and on the run, Reynard is a metaphor of a never ending obsession with each breath, each gesture, each thought. Marta seeks in the emptiness of her body a way to arrive to her inner essence, in an abstract search of a free spirit that might end in her own enclosure.

They all say that you killed an Angel. Who says that ? They. It’s not an Angel. It isn’t ? No. It’s a rare bird, just like you and me.

In a remote village called Bostofrio, a young filmmaker breaks the law of silence in order to unearth the story of his grandfather. A series of awkward and funny interviews that reveal the secrets and half truths that are the fabric of rural Portugal.

“Campo de Marte” (The Field of Mars) was in the ancient times Rome’s training arena for war. At the outskirts of Lisbon, “Campo” hosts today Europe’s largest military base. In this place military troops train fictional missions, astronomy aficionados observe the stars and a boy plays the piano for the wild deers lurking in the dark.

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.

Self Destructive Boys is a direct stare into masculine interaction as we follow three boys in their mid-twenties, António, Xavier and Miguel testing the limits of their sexual flexibility.

레오노르는 그녀의 아버지가 기대하지 않았던 날 자신의 여행에서 돌아온다 그 후 부녀는 24 시간 동안 아버지인 프란시스코의 불안정한 정신 상태로 인해 지속적으로 증폭되는 환각적인 현실을 경험하게 된다

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.

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.

The National Ballet of Portugal is celebrating its 40th anniversary. Since its foundation, it has aimed to present the great classics, as well as to always welcome contemporary creations. Day-to-day life is demanding for dancers, choreographers, musicians, répétiteurs, seamstresses, light technicians, sound technicians, and other elements of a large staff that make it possible for dance to travel through the rehearsal rooms and linger in the hallways before making it onto the stage. This film follows not only the company’s creations and premieres, but mainly each dancer’s silent and structural work.

Mother and son move into a new house, a new city, a new story.

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.

Jorge is a knife-sharpener. Despite being old and retired, he still keeps on working. Even health is not on his side, but this doesn’t seem to stop him. He drives down the streets with his motorcycle loaded with the trade’s tools day in and day out. Along the way he meets people he has known for years; he relives the past with them and looks concerned at the future, which seems to want to erase them.

This film dives into a new world of possibilities, from the diversity of emotions tcreated by this one man alone in this house to his behavior and transformation on the world that he is creating.

A princess and a hunter. An iconographic journey immersed in Lusitanian fantasy.

A Comunidade is a short documentary focused on CCL, the oldest camping park in Portugal.

Manuel bids farewell to his routine and boards a 15th century vessel under pirate law. Treason on board triggers a series of terrible events our protagonist overcomes while keeping his moral principles intact.

Diana's family produces coconut sweets. João gathers the coconut and Diana and Lucia make the sweets. Zacarias sells product in the city. One day, Diana goes to the river with her mother and her aunt Maria.

Jorge, a very shy young man, works as bellboy in a Lisbon hotel and lives in a guesthouse where he is constantly harassed by the owner’s daughter. As he tries to resist her charms, the boy dreams of one thing only: to incarnate the singer Tony de Matos. This obsession leads him to sign up for an unique karaoke contest, where he will finally be able to give life to his longtime hero. And it’s amid a group of strange characters that Jorge will understand that, after all, he is not alone.

In the Espinhaço Mountains one winter, a group of small-town Brazilian girls are experiencing the end of their youth. Impossible romances leave marks on their bodies and the surrounding landscape. Each of the friends finds her own particular way to overcome the loneliness and to live within a tangle of uncertainty.

João is an indolent young man, whose life is desperately empty. Day after day he goes through the motions of duplicating keys in his tiny shop concealed in the basement of an obsolete nearly deserted shopping center. Some day, he hopes, the lady of his heart will come and order the key that will unlock his heart. Against all expectation, the miracle happens...

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.

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 short film that emulates the activities of early Brazilian filmmakers known as "cavadores".

The life of Austrian writer Stefan Zweig in Brazil. He wrote the famous book "Brasil, País do Futuro" (Brazil, Country of the Future). He and his wife Lotte, in a mysterious death pact, decided to kill themselves in the week following 1942 Carnival, in Brazil.

Yndio do Brasil is a collage of hundreds of Brazilian films and films from other countries - features, newsreels and documentaries - that show how the film industry has seen and heard Brazilian indigenous peoples since they were filmed in 1912 for the first time: idealised and prejudiced, religious and militaristic, cruel and magic.

The story of João "Jango" Goulart, the Brazilian left-wing president deposed by the military.

"I've been on this cliff for almost a year, here on the lookout. Always aware of the sea and the enemy, even though I've never seen him. The man riding a horse gave me a new order, to be even more on alert, waiting for a mirage, for a ghost that will not come."