Director of Photography
From our window one can see a set of the film The Green Years, directed by Paulo Rocha in 1963. This was our starting point: guided by Rocha's gaze, we look back at the places of that film. The successive geological, urbanistic and social strata of Lisbon, besieged by the pandemic that interrupted the shooting, are drawn out in front of our camera, like a contemporary jazz impro from a score written in 1963.
Cinematography
In a small studio we unveil the nature of the creative process of João Gabriel, a young promise of Portuguese contemporary painting. A work marked by the presence of the male figure and the sexuality of pornographic films from the 70's and 80's. Transgressing the boundaries of pleasure and navigating through new experiences of desire, in a joyful rebellion where João Gabriel’s paintings invite us to delve in.
First Assistant Camera
Otavio e Gilda são da elite brasileira e membros do The Cannibal Club. Os dois têm como hábito, comer seus funcionários. Quando Gilda acidentalmente descobre um segredo de Borges, um poderoso congressista e líder do clube, ela acaba colocando sua vida e a de seu marido em perigo.
Tram Passenger #5
Lisboa, Portugal, 1927. O escritor e jornalista Fernando Pessoa aceita do seu patrão a encomenda de criar um slogan publicitário para a bebida Coca-Louca; mas as autoridades governamentais conservadoras consideram a nova bebida tão revolucionária como diabólica.
Additional Photography
Gaston Solnicki plays himself in this cinematic tribute to his friend Hans Hurch.
Assistant Camera
Gaston Solnicki plays himself in this cinematic tribute to his friend Hans Hurch.
Director of Photography
Um filme sobre a sociedade portuguesa metropolitana e ultramarina no início da década de 60, à boleia da história de um jovem futebolista moçambicano chamado Eusébio, atleta predestinado do Sporting Clube Lourenço Marques, que se vê cobiçado e contratado pelo clube rival, o Benfica. Chantagem, tentativas de rapto, envolvimento de ministros, delírio nos jornais e promessas milionárias fazem da história da transferência do futebolista - um miúdo que nunca ninguém vira jogar - uma saga desenrolada em dois continentes. Termina quando a lenda começa : com a estreia de Eusébio na Luz.
Cinematography
With no career expectations, a temperamental young woman gave in to a job as a maid in a hotel. Makes the beds, replaces the towels, replaces the soaps. One day she discovers a suitcase left behind by a whimsical French tourist, inside which she finds a lime green canary, a natural yogurt and a five hundred euro envelope.
Camera Operator
Documentário sobre a aquisição de telefones para o Posto de Comando do MFA, assim como a montagem de um cabo de transmissões que teria de ser prolongado do Colégio Militar até ao Posto de Comando (PC), instalado na Pontinha.
Cinematography
At 19, Antonio fled his Portuguese farm family for life on the other side of the globe. Five decades later, his decision still leaves an irrevocably sour taste.
First Assistant Camera
Rita tem tudo: 15 anos e um verão inteiro pela frente; um futuro ex-namorado e uma melhor amiga. Até que ela visita a exposição de um vizinho conhecido, e seu mundo perfeito se desmorona à sua volta.
Aurora's Friend #2
Aurora, uma idosa de opiniões contraditórias, convive com uma empregada cabo-verdiana e uma amiga engajada em causas sociais. Após sua morte, fatos obscuros de seu passado surgem, e as companheiras de Aurora conhecem sua trágica aventura na África.
Director of Photography
A 2008 short made in accompaniment with Our Beloved Month of August, documenting Gomes's and his crew's hapless search, during 2007's carnival, for one of Arganil's most storied and elusive characters (who does, in fact, ultimately appear as an interviewee/player in the finished film). Paulo "Miller" is known for taking a dangerous jump into the Alva from a bridge each year during carnival, but what this film is about is, in keeping with the free-roving feature, much less the subject himself than Gomes and co.'s inability to pin him down; not only does he not do his famous jump during this year's carnival, but an ostensible technical/audio failure (as with the feature, it's very difficult to say how much of this film is "fact," how much invented) during Gomes's initial on-camera meeting with Paulo "Miller" leads to five minutes of lip-readers attempting to decipher their conversation.
