Sérgio da Costa

오랜 투병 생활에 지친 안토닌은 새들을 위한 재활센터에서 새로운 삶을 발견한다. 은퇴를 준비하는 분의 뒤를 이어 일을 시작한 그는 새와 동물 들을 돌보며 견습생으로서의 일을 서서히 익혀 나간다. 영화는 안토닌의 일상적인 배움의 과정을 통해 ‘돌봄’이라는 인류의 고전적인 전통을 관찰한다.

오랜 투병 생활에 지친 안토닌은 새들을 위한 재활센터에서 새로운 삶을 발견한다. 은퇴를 준비하는 분의 뒤를 이어 일을 시작한 그는 새와 동물 들을 돌보며 견습생으로서의 일을 서서히 익혀 나간다. 영화는 안토닌의 일상적인 배움의 과정을 통해 ‘돌봄’이라는 인류의 고전적인 전통을 관찰한다.

오랜 투병 생활에 지친 안토닌은 새들을 위한 재활센터에서 새로운 삶을 발견한다. 은퇴를 준비하는 분의 뒤를 이어 일을 시작한 그는 새와 동물 들을 돌보며 견습생으로서의 일을 서서히 익혀 나간다. 영화는 안토닌의 일상적인 배움의 과정을 통해 ‘돌봄’이라는 인류의 고전적인 전통을 관찰한다.

오랜 투병 생활에 지친 안토닌은 새들을 위한 재활센터에서 새로운 삶을 발견한다. 은퇴를 준비하는 분의 뒤를 이어 일을 시작한 그는 새와 동물 들을 돌보며 견습생으로서의 일을 서서히 익혀 나간다. 영화는 안토닌의 일상적인 배움의 과정을 통해 ‘돌봄’이라는 인류의 고전적인 전통을 관찰한다.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

Silva, an old drifter, arrives at a small and isolated Portuguese village where he meets the young Ana. They develop a relation in between friendship and initiation. Fascinated by that wondrous man, Ana progressively falls into his universe. A life populated by supernatural figures including her long lost friend Carolina. But strange fits weaken Silva, bringing him to the hospital, where a dozen women start inhabiting him. Will they save him?

Silva, an old drifter, arrives at a small and isolated Portuguese village where he meets the young Ana. They develop a relation in between friendship and initiation. Fascinated by that wondrous man, Ana progressively falls into his universe. A life populated by supernatural figures including her long lost friend Carolina. But strange fits weaken Silva, bringing him to the hospital, where a dozen women start inhabiting him. Will they save him?

Silva, an old drifter, arrives at a small and isolated Portuguese village where he meets the young Ana. They develop a relation in between friendship and initiation. Fascinated by that wondrous man, Ana progressively falls into his universe. A life populated by supernatural figures including her long lost friend Carolina. But strange fits weaken Silva, bringing him to the hospital, where a dozen women start inhabiting him. Will they save him?

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Portrait of a Portuguese bar whose boundary is a road in a little village. Through a succession of everyday scenes, a community appears, which is unified by the fact that there they feel “at home”. Its protagonists eat, drink, discuss, watch tv... they all spend time there, waiting for something.

Portrait of a Portuguese bar whose boundary is a road in a little village. Through a succession of everyday scenes, a community appears, which is unified by the fact that there they feel “at home”. Its protagonists eat, drink, discuss, watch tv... they all spend time there, waiting for something.