Joana Brandão

Fiction is never very far from reality. A young man, of Portuguese heritage, decides to do a PhD based on the documentary The Good People of Portugal, a work from 1980, also directed by Rui Simões. This opens the door to a parallel between the reality of the film we see and that of PREC, the moment of the studied documentary and the contemporary world, with the young Michel in between.

Rosa, a top professional, is the hot shot in her company. However, today Rosa destroys her computer in front of all her work colleagues and leaves the city for good. Rosa has just lost the only family she had, her grandfather Marcelino, who she hadn't seen for a long time.

Snu é dinamarquesa e a fundadora da editora D. Quixote, publicando livros que desafiam a censura do Estado Novo. Francisco é um dos mais carismáticos políticos portugueses. Ambos são casados. Ele tem cinco filhos e ela tem três. Snu Abecassis conhece Francisco Sá-Carneiro no dia 6 de Janeiro de 1976. Apaixonam-se irremediavelmente e decidem assumir esse amor num Portugal em plena reconstrução das cinzas do fascismo, abalando as convenções nacionais. Partilham valores e ambição, lutam juntos pela democracia e pela liberdade, deixando a sua marca na política e na sociedade. Morrem tragicamente em 1980, protagonizando uma das grandes histórias de amor do século XX.

Ana is in her thirties and unable to share physical intimacy. She has recently started dating and feels increasingly anxious. Her therapist, who is also dealing with her own personal issues, incites Ana to overcome her fears and experience pleasure. As their stories intertwine, unexpected challenges emerge.

Vasco Leitão, vive da mesada das tias, que vivem no Porto e o consideram um aluno cumpridor. Mas Vasco prefere os bares e as mulheres bonitas, em particular Alice, uma rapariga com talento para a música e filha do candidato a Primeiro Ministro José Caetano. Os azares de Vasco sucedem-se: no mesmo dia em que volta a reprovar uma prova oral, recebe um e-mail em que as tias lhe anunciam uma visita a Lisboa.

THE SMELL OF CANDLES is a short film about the emotional boundaries that bind the relationships between siblings. Sara and Gabriela have long lost contact with each other. They finally meet for their mother's anniversary. Amongst the present silences and the confrontations from the past, the two sisters rediscover their intimacy in an unexpected surprise party.

Sandro Aguilar's haunting, formally ambitious debut immerses the viewer in a series of uncannily potent scenes.

Manô (George Felner), uma obscura e anónima personagem das comédias populares dos anos 20, escapa-se à destruição de um antigo estúdio de cinema, materializando-se para o mundo real a partir de um filme de celulóide. Manô procura adaptar-se e sobreviver na Lisboa actual, para o qual não está preparado. Mariana (Adelaide de Sousa), uma fotógrafa desempregada, encontra Manô e tenta ajudá-lo a descobrir o porquê do seu regresso, apesar de Marco (Diogo Infante) um psicólogo com pouco sentido de humor, desgostar desse desastrado a preto e branco.

A short time has passed. Both arrived to a point of no return, a break is the only way out. One of them has to take the first step. This morning both decide to leave, definitely, without the other realizing it. The house remains empty.

At evening, Carlos disappears... Lea, Pedro and Rafa start looking for him, they search all around Sintra. Was already night time when there was just one place they didn't go... the Castle "dos Mouros". Even how frightened they were the start the walk, through the castle. At that time parents were already worried. It wasn't the first time a kid disappeared, a legend of a monster existed in Sintra... Híssis.

Young leadership and audiovisual director, Patrícia Ferreira has been recognized for the documentaries she makes with her people, the Guarani Mbya. When asked to discuss her work at one of the largest ethnographic film festivals in the world, the Margaret Mead Film Festival, held at the American Museum of Natural History in New York, Patrícia is faced with a series of exhibitions, debates and attitudes that the they make us reflect on the world of “juruá”, contrasting it with the Guarani modes of existence.