Tiago Afonso

Over the course of thirteen years, from 2007 to 2020, the film follows the changes in the social fabric of the city of Porto. Demolitions, evictions and resettlements that affect the Roma community of Bacelo, the inhabitants of Bairro do Aleixo and the sellers at Feira da Vandoma.

Two erratic journeys whose only relation is all that happens at the same time and in a limited radius. It is a film that refuses to judge, trying to tell two stories while refusing to be subjected to analogies between them.

In Portugal he was a priest, in Brazil a revolutionary.

Accounts on the emptiness left by a now closed and ruined mining industry, in which we met a series of participants and testimonies that address the social inequities, the laboral violence, the accidents at work and the daily life that evolved in this particular mining community of the northern inland of Portugal at a time in which extreme poverty was real.

Accounts on the emptiness left by a now closed and ruined mining industry, in which we met a series of participants and testimonies that address the social inequities, the laboral violence, the accidents at work and the daily life that evolved in this particular mining community of the northern inland of Portugal at a time in which extreme poverty was real.

Accounts on the emptiness left by a now closed and ruined mining industry, in which we met a series of participants and testimonies that address the social inequities, the laboral violence, the accidents at work and the daily life that evolved in this particular mining community of the northern inland of Portugal at a time in which extreme poverty was real.

Para a realização de Sem Cura - à saúde de Manoel de Oliveira, partimos da ideia de inquirir a presença da medicina, sob os mais diversos aspectos, na obra do mestre. Desde a presença da própria instituição hospitalar concreta (Aniki-Bóbó) ou metafórica (A DIVINA COMÉDIA), até à personagem do doente (O DIA DO DESESPERO, O ESPELHO MÁGICO…) ou do médico (BENILDE, VALE ABRAÃO, JE RENTRE À LA MAISON, CRISTÓVÃO COLOMBO…), passando por inúmeras situações de morte iminente (FRANCISCA, NON, A CARTA…), etc. Constatado o considerável número das situações que envolvem clínica e clínicos no vasto conjunto da obra oliveiriana, abraçámos a tarefa de criar um diálogo entre as várias sequências citadas, de modo a enfatizar os efeitos de sentido de que todas são portadoras. Esse diálogo cruza-se com uma rede de cenas filmadas dentro do Hospital S. João, nas quais o Dr. António Roma Torres, promotor deste projecto, nos serve de guia.

A journey through the Portuguese Ongoing Revolutionary Process