Júlio Alves
출생 : , Lisbon, Portugal
약력
Born in Lisbon in 1971, Julio Alves began working within the film industry at an early age. He began his well-established career working as an Assistant Director and Assistant Producer for several Portuguese, French and Spanish feature films and telefilms. Julio then began directing his own short films in genres such as fiction, animation and documentarie. Apart from his short documentaries, he has also directed two feature length documentaries. His works have been nominated at many national and international festivals and have also received numerous awards. Since 2000, Julio has expanded his portfolio in directing advertising films for large Portuguese and Spanish brands. He has his Master's degree in Film Studies and is currently working on his Doctorate in Communication Sciences.
Art Direction
The story of Caveirinha, a humble fisherman who lives in a difficult social situation. Immediately after the death of his son at sea, he faces the challenge of burying him with dignity.
Producer
Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.
Director
Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.
Art Direction
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.
Art Direction
The summer festivities of a Portuguese village are suffused with sensuality and violence in this enigmatic portrait of a tightly knit family.
Screenplay
오래된 한 커플과 거북이에 관한 이야기다. 이혼을 앞둔 부부는 공동 소유였던 물건을 하나씩 나눠 가진다. 마지막에 집에서 키우던 거북이 한 마리가 남는데, 서로 본인의 것이 아니라고 주장하면서 새로운 사건이 꼬리에 꼬리를 문다.
Director
오래된 한 커플과 거북이에 관한 이야기다. 이혼을 앞둔 부부는 공동 소유였던 물건을 하나씩 나눠 가진다. 마지막에 집에서 키우던 거북이 한 마리가 남는데, 서로 본인의 것이 아니라고 주장하면서 새로운 사건이 꼬리에 꼬리를 문다.
Producer
Chantal Akerman and Pedro Costa meet in a movie theatre.
Writer
Chantal Akerman and Pedro Costa meet in a movie theatre.
Director
Chantal Akerman and Pedro Costa meet in a movie theatre.
Producer
포르투갈의 거장 페드로 코스타의 작품 세계를 관통하는 시네마틱한 여정이 펼쳐진다. 용암의 집부터 뼈, 반다의 방, 행진하는 청춘, 호스 머니까지 20년에 걸친 코스타 영화를 원재료로, 거기서 발췌한 스틸 컷과 사운드트랙이 직관에 따라 재배치된다. 사카벵은 예술가와 작품에 관한 전통적인 다큐멘터리가 아니다.
Director
포르투갈의 거장 페드로 코스타의 작품 세계를 관통하는 시네마틱한 여정이 펼쳐진다. 용암의 집부터 뼈, 반다의 방, 행진하는 청춘, 호스 머니까지 20년에 걸친 코스타 영화를 원재료로, 거기서 발췌한 스틸 컷과 사운드트랙이 직관에 따라 재배치된다. 사카벵은 예술가와 작품에 관한 전통적인 다큐멘터리가 아니다.
Director
I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.
Director
Manuel João Vieira shows us his home - or homes - and the characters who live there. The starting point is the characters' definition and the Casa Manuel Vieira exhibition. The Italian neighbour and the accidental tourist help us create scenarios on the man and the artist. In short, it is Manuel João Vieira and his rather particular working universe.
Director
António, Zé Maria, and João live in the house they are building. For two years, they reinitiate the process once or twice according to their work in the house. The changes in the bedrooms force constant changes in the living organization. The rooms change. Their habitants change as well. Time passes. The house comes to life.
Art Direction
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Producer
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Guarda 2
Walking through the lost boundaries of the kingdom, our hero finds his greatest enemy.
Director
A small village in the centre of Portugal saw many of its inhabitants emigrate in the 60s and 70s. Many of them came back to "die at home", while others didn’t manage to do so, such as my parents. I go to the village and I visit the places where they were born, lived and died. I try to remake memories. I wonder whether my parents would live as all those who managed to return
Writer
Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.
Director
Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.
Writer
Short film.
Director
Short film.
Director
On a supermarket shelf, a particular alarm clock keeps blaring off-hand, upsetting the staff and the customers. Eventually, it's golden frame attracts the attention of a shoplifter, who is almost caught by security because of that feature. After escaping without paying from two other stores, the thief will come face to face with a cop - also wearing a long coat similar to the thief's - and the clock will blurt up again - in the wrong pocket.
Construction Foreman
Lisbon, 1938. Mr. Pereira is the editor of the culture section of an evening paper. Although fascism is on the rise in Europe, like in nearby civil war Spain or even inside Portugal itself in the form of Salazar's regime, Pereira only concerns himself with writing bios and translating French novels. Things change after he hires a young writer as his assistant, getting to know also his girlfriend – both opponents to the regime – and reluctantly helps them when they begin to get in trouble for subversive activities. Eventually, he's forced to take a stand...
Second Assistant Director
Lisbon, 1938. Mr. Pereira is the editor of the culture section of an evening paper. Although fascism is on the rise in Europe, like in nearby civil war Spain or even inside Portugal itself in the form of Salazar's regime, Pereira only concerns himself with writing bios and translating French novels. Things change after he hires a young writer as his assistant, getting to know also his girlfriend – both opponents to the regime – and reluctantly helps them when they begin to get in trouble for subversive activities. Eventually, he's forced to take a stand...
Producer
In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.
Director
In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.
