André Gil Mata
Nascimento : , São João da Madeira, Portugal
História
André Gil Mata was born in 1978. Having studied mathematics, he has worked mostly in photography, theatre and film and is one of the founders of the Portuguese photography and cinema laboratory Átomo 47. In 2009, his debut short-film WATER ARK won several awards having been shown in several international festivals, as well as his second short-film HOUSE. GRAVEDIGGER, his third short-film, won the Mèlies d'Argent and CAPTIVITY, his first feature-length documentary won the DocAlliance Award at Cannes, in 2013. Gil Mata obtained his master degree in film direction in 2012, at Lisbon Theatre and Film School and finished his PhD at Film. Factory (Sarajevo) in 2016.
Editor
In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.
Producer
In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.
Screenplay
In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.
In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.
Director
In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.
Co-Producer
Expectante is a fiction that emulates some apparently dangerous situations evoking the constant paranoia of an insecurity city's people.
Writer
Seleção Oficial Mostra Forum do festival de Berlim 2018
Director
Seleção Oficial Mostra Forum do festival de Berlim 2018
Cinematography
Joana, seven years old, waits for her mother to recover from an illness. She wiles away the hours in her grandfather’s warehouse of antiques.
Writer
In Sarajevo, in a cinema’s projection booth, lives Sena; a woman who in daily solitude repeats the projection of the few Yugoslavian films of which there are copies. Through a combination of silence, the everyday gestures of this woman and the films that are projected from her living room, comes a film built like a day in Sena’s life. Through the films that Sena projects, we are taken on a journey in both collective and personal memory. The film offers a portrait of intimacy crossed with a history witnessed by cinema; a history which Sena has conserved.
Director
In Sarajevo, in a cinema’s projection booth, lives Sena; a woman who in daily solitude repeats the projection of the few Yugoslavian films of which there are copies. Through a combination of silence, the everyday gestures of this woman and the films that are projected from her living room, comes a film built like a day in Sena’s life. Through the films that Sena projects, we are taken on a journey in both collective and personal memory. The film offers a portrait of intimacy crossed with a history witnessed by cinema; a history which Sena has conserved.
Director Júlio Bessa, who suffers from "stage fright" will make an introduction to his latest film at Festival de Cinema Luso Brasileiro in Santa Maria da Feira.
Cinematography
O amor é uma guerra fria. Um casal discute seu relacionamento em um parque de Berlim.
Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.
Producer
Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.
Screenplay
Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.
Director
Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.
Screenplay
To be captive is to be confined, both in space and in time. The captive one is not only and necessarily a prisoner, but becomes an inherent part of that space, his identity being continually projected on it. The captivity space itself is in turn not inert; it is rather characterized by whomever it contains, it is shaped by that experience.
Cinematography
To be captive is to be confined, both in space and in time. The captive one is not only and necessarily a prisoner, but becomes an inherent part of that space, his identity being continually projected on it. The captivity space itself is in turn not inert; it is rather characterized by whomever it contains, it is shaped by that experience.
Producer
To be captive is to be confined, both in space and in time. The captive one is not only and necessarily a prisoner, but becomes an inherent part of that space, his identity being continually projected on it. The captivity space itself is in turn not inert; it is rather characterized by whomever it contains, it is shaped by that experience.
Director
To be captive is to be confined, both in space and in time. The captive one is not only and necessarily a prisoner, but becomes an inherent part of that space, his identity being continually projected on it. The captivity space itself is in turn not inert; it is rather characterized by whomever it contains, it is shaped by that experience.
André
Homens das cavernas seguem com o seu dia-a-dia, mas nem tudo é o que parece
Editor
A grandmother and the house where she always lived.
Cinematography
A grandmother and the house where she always lived.
Producer
A grandmother and the house where she always lived.
Writer
A grandmother and the house where she always lived.
Director
A grandmother and the house where she always lived.
Screenplay
In a lake surrounded by buildings, a man builds a boat.
Director
In a lake surrounded by buildings, a man builds a boat.
Hands
“A struggle. A glance inward reveals another world, a mutable world. I only exist within myself.” Film made in the film-workshop "A Nebulosa" in Porto, Portugal. With 122 meters of 16mm Film.
