Jorge Jácome

어떤 형상도 없이 색의 변화로만 시작한 영화는 장애인 출연자들과 함께 기계의 시점과 인간의 시점, 꿈과 현실, 육지와 바다, 장애와 비장애를 자유롭게 횡단하며 자연스러운 것, 또는 정상적인(natural) 것이 무엇인지 질문한다. 2022년 베를린영화제 포럼부문 국제영화비평가연맹상 수상.

어떤 형상도 없이 색의 변화로만 시작한 영화는 장애인 출연자들과 함께 기계의 시점과 인간의 시점, 꿈과 현실, 육지와 바다, 장애와 비장애를 자유롭게 횡단하며 자연스러운 것, 또는 정상적인(natural) 것이 무엇인지 질문한다. 2022년 베를린영화제 포럼부문 국제영화비평가연맹상 수상.

어떤 형상도 없이 색의 변화로만 시작한 영화는 장애인 출연자들과 함께 기계의 시점과 인간의 시점, 꿈과 현실, 육지와 바다, 장애와 비장애를 자유롭게 횡단하며 자연스러운 것, 또는 정상적인(natural) 것이 무엇인지 질문한다. 2022년 베를린영화제 포럼부문 국제영화비평가연맹상 수상.

Gabi believes in her ability to act in times of injustice, relying on her physical abilities. One day, Gabi finds out that her brother, Daniel, is a victim of bullying in their neighbourhood. Suffering from unexpected outbreaks of sleepwalking, he disappears from home during the night. While trying to avenge him, Gabi realizes that perhaps all the coinciding events related to her brother are a test made by ghosts of the past.

시코락스는 누구일까? 셰익스피어 『템페스트』의 등장인물 중 가장 먼저 섬에 발을 들여놓은 자이지만, 안타깝게도 시코락스의 대사는 나오지 않는다. 프로스페로는 그녀를 공기의 정령 아리엘을 나무에 가둔 교활하고 사악한 늙은 마녀라고 간략히 설명한다. 그녀는 왜 아리엘을 나무에 가뒀을까? 프로스페로의 말을 믿어도 되는가.

Drawing on comments about YouTube relaxation videos for people who are alone and/or cannot sleep, and footage of the moon captured on super 16 mm film transferred into digital form, moooooon imagines a transformation of the physical stages of the moon, speculating about the possibility of its materiality being fluid.

Love, fear and anxiety. A couple spends their last night together, in Lisbon, before one of them leaves for another country. A romantic night gives way to unspoken tensions in their life's turbulent present and the world's uncertain future.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands. Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.

A “non-stop party”, celebrated in night spots, meeting places, places where bodies mingle and people dance, an adventure in the immense loneliness of the world.

A Guest + A Host = A Ghost is as free as it is associative.

A Guest + A Host = A Ghost is as free as it is associative.

A Guest + A Host = A Ghost is as free as it is associative.

A Guest + A Host = A Ghost is as free as it is associative.

A scientist tells us that Pluto is no longer considered a planet. The feelings of disappointment and nostalgia, and the impossibility of being able to go back to certain moments of his life, make him want to find in the story of David an answer for whatever exists beyond science and reason.

A documentary about the world of portuguese cinema, with interviews with some critics and directors.

An amusement park seen as a place that changes because of the way it is inhabited during the day. The behavior of those who are just visiting contrasts with the way those who work there behave, whose actions are the same every day.

An amusement park seen as a place that changes because of the way it is inhabited during the day. The behavior of those who are just visiting contrasts with the way those who work there behave, whose actions are the same every day.