João Figueiras

A cabaret owner tries to keep his club from being taken over by the powers that be.

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.

On a Sunday an older actress (Isabel Ruth) decides to use her mobile phone to take photos of a sleeping young actor (Joaozinho Costa)

Explore hidden desires on a sleepover, fall in love with the handyman and be seduced by a stranger on the beach as you discover why Love Is the Drug. Boys On Film 17 includes nine complete films: Nicholas Colia's "Alex And The Handyman" starring Keaton Nigel Cooke, Aaron Profumo, and Hogan Gorman; Dawid Ullgren's "Mr. Sugar Daddy" starring Bengt C.W. Carlsson and Aleksandar Gajic; Brendon McDonall's "Spoilers" starring James Peake and Tom Mumford; André D. Chambers's "Tellin' Dad" starring Carl Loughlin, Ricky Tomlinson, and Michael Byron; Eyal Resh's "Boys" starring Wyatt Griswold and Pearce Joza; Martin Edralin's "Hole" starring Ken Harrower and Sebastian Deery; Lorelei Pepi's animated "Happy & Gay"; André Santos and Marco Leão's "Pedro" starring Filipe Abreu and Rita Durão; and Anthony Schatteman's "Kiss Me Softly" starring Ezra Fieremans, Marijke Pinoy, and Marc Van Eeghem.

Toda a população dos Açores é despejada devido a uma praga descontrolada de hortênsias, uma flor comum nestas ilhas. Dois jovens soldados, ligados à beleza da paisagem, ficam nas ilhas para nos guiar através das histórias daqueles forçados a sair e do inerente desejo de resistir.

A twenty years old boy that lost his mother, father and sister in a traffic accident takes a caravan trip with his best friend in order to hold onto life again.

Feature documentary about ex-maverick filmmaker António de Macedo.

O filme reinterpreta um famoso mito português que explora a vida da figura religiosa de Santo Antônio.

Pedro gets home at dawn. Before the young boy falls asleep, his lonely mother drags him to the beach.

André's Eyes is an experimental docudrama in which the actual family members themselves participate in the recreation of their own story. Set in a small village in the Portuguese countryside, the film follows the struggle of a divorced father to keep his family together after his youngest son is taken away from them and placed in a foster family.

While a teenage boy learns how to drive, a woman walks her elderly dog through the woods. As the evening settles she realizes that it's not too late to take action.

The word panchão was first heard in Macao. From the Chinese pan-tcheong or pau-tcheong, dictionaries define it as a Macanese regionalism also known as China cracker. Who inhabits the ancient IEC Long firecracker factory?

An elderly woman in a wheelchair and a hormone driven teenage boy arrive to a beach cabin where, through rare moments of lucidity, she will persuade him to kill her.

How would it look like, the body of Dom Afonso Henriques, first king of Portugal, tutelary figure, subject to successive mythifications throughout Portuguese history?

Part memoir, part city symphony, part noir-ish B-movie adventure, the new feature from critically acclaimed film-making duo João Pedro Rodrigues and João Rui Guerra da Mata (To Die Like a Man) is a sensual, shape-shifting ode to one of the world's most mythic, alluring and exoticized cities.

Seguindo as tradições portuguesas de 13 de junho — quando os enamorados ofertam a Santo Antônio um vaso de manjericão como prova de seu amor — um grupo de jovens ocupam as ruas tomados por uma estranha letargia.

On the phone in his dark bedroom, a man relives the end of a turbulent affair, while across town, the city burns.

The Red Market in Macao. The red tonalities of blood, flesh, buckets and even of the fish’s eyes, carry the audience into a strange and scary universe but also beautiful and intriguing. Rodrigues and Guerra da Mata’s camera emerges like a driving force giving us the exact balance between what exists and what we see.

In one afternoon Rafael’s paradise becomes a spiral of guilt and paranoia.

Verão de 1982. Praia, é o fim das férias. Rui e os pais vivem fechados nos seus mundos, cegos à falha que os caracteriza como família e os condena ao solitário mal-estar da sobrevivência. Na sua estreia na longa-metragem, Pedro Caldas filma uma história de adolescência ambientada no Verão de 1982, no fim de umas férias de praia no sul de Portugal. O argumento centra-se nas personagens de uma família e no protagonismo do filho adolescente em momento de passagem para a idade adulta. O título vem do fechamento dos mundos dos protagonistas. “Guerra Civil é um filme sobre solidões que não se tocam, mãe, pai e filho” (Pedro Caldas).

Um borrão sombra, uma entrevista anónima revela um homem solitário, melancólico, incapacitado para o seu tempo. Seu depoimento revela uma cidade em mutação.

Boy meets girl. The daily life of Dino and Helena is difficult and the grief is growing in a way that encloses them while they search for an urgent solution.

China walks towards the Lisbon district of Martim Moniz. In its wake, the children shout: China! China! China will leave at dawn, will fly away. Just wants to be happy. But drinking her own poison without leaving a drop. Sometimes the air is laden with iniquity and purgatory is a kindergarten...

Cecília is sixteen years old. She has a prosthesis in her left hand and a new love, but she does not have her mother's attention.

Francisco, comporta-te! Bem sei que hoje fazes 30 anos, que é Carnaval e que vestes de cowboy na festa do colégio, cercado por miúdos que detestas.

A place where putting red lipstick gives life and a broadcast camera takes it, reclaiming lost girls in endoscopic romances into darkness, where they evaporate, inside empty haute couture dresses.

By instinct, he covers the flame before him. The fire consumes tears and fever, little by little. Only then the sorrow begins. A cold wind sweeps the ashes from the floor and freezes the room.

A family gathers to celebrate Christmas.