Editor
In 2020, unable to travel, Ico Costa left a small camera with Ailucha and Domy, two young Mozambicans from the city of Inhambane, and asked them to film their daily lives. The result: working, playing, walking, hanging around, smoking, listening to music, singing, dancing, feeling desire – being teenagers.
Cinematography
In this film people appear, but only as one factor amongst others. Callused hands sow, weed, build and rake; stooped backs bring in the harvest.
Editor
In this film people appear, but only as one factor amongst others. Callused hands sow, weed, build and rake; stooped backs bring in the harvest.
Director
In this film people appear, but only as one factor amongst others. Callused hands sow, weed, build and rake; stooped backs bring in the harvest.
Editor
Maria começa a ter sinais de pertencer a outro lugar: surgem escamas na pele, raízes nas pernas, e ela ouve o som da água - sonha ser peixe. Um dia a sua filha depara-se com o seu desaparecimento e reconstruirá, pela memória dos gestos e desencontros, uma possível explicação para a sua fuga.
Editor
Cláudia Ribeiro spent seven months – since the time of plantation till the crops – capturing the work in the fields of the sisters Ana e Glória, in Passinhos de Cima, between the rivers Douro and Tâmega. It is an isolated place, where the baker, the fish seller, the grocer and their sons visit once a week. This a film on a way of life, the subsistence agriculture, but also about the humour and the ironies of representation and hospitality.
Editor
António foge de casa e tenta passar a noite no apartamento da ex-namorada, onde conhece uma brasileira de forma inesperada. Johnny sofre para organizar sua primeira peça de teatro em Lisboa. A amizade que se desenvolve entre ele e o técnico de luz o obrigará a enfrentar seus verdadeiros problemas.
Director
“Prune me in January Tie me up in February Dig me up in March And you’ll see what I’ll do to you.”
