Margarida Gil

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

Insatisfeita com a vida sossegada, uma viúva em busca de mudanças embarca em um veleiro rumo a uma aventura de autodescoberta.

Insatisfeita com a vida sossegada, uma viúva em busca de mudanças embarca em um veleiro rumo a uma aventura de autodescoberta.

"Em 2017, a Fundação Calouste Gulbenkian financiou um grupo chamado Projecto Diálogos que me convidou para realizar um pequeno filme sobre o Plano de Edições, que estava em risco. Fui buscar o título a Platão. Com os livros da Gulbenkian construímos uma cidade em estúdio. Acácio de Almeida foi o director de fotografia e Alexandre Oliveira o produtor. Eu fiz a banda sonora, como é meu costume e realizei." - Margarida Gil

Isabelle é uma jovem publicitária que admira sua chefe Christine, uma mulher tão encantadora quanto ambiciosa. No começo elas se dão muito bem, até que Isabelle começa a se transformar em uma ameaça. Christine tentará seduzi-la para acabar com ela.

Isabelle é uma jovem publicitária que admira sua chefe Christine, uma mulher tão encantadora quanto ambiciosa. No começo elas se dão muito bem, até que Isabelle começa a se transformar em uma ameaça. Christine tentará seduzi-la para acabar com ela.

Na Guimarães de hoje, Ana (Cleia Almeida) tenta desesperadamente acabar um trabalho de pesquisa sobre Joaquim Novais Teixeira, orgulhoso vimaranense desaparecido em Paris em 1972. Faltam-lhe o tempo e as forças para editar as horas de entrevistas que recolheu sobre ele, e pede ajuda a Sofia (Maria Raquel Correia) e a Jacinto (Miguel Nunes), cujo maior empenho é dormir. Todos se acabam por emaranhar no véu do fantasma do Novais e de se deixar seduzir por esta figura incontornável. Um homem do mundo, de excecional carácter e inteligência, um sedutor, um homem de princípios, comprometido, independente e confiável. Do Novais Teixeira assim fala gente como Júlio Pomar, Eduardo Lourenço, o filho de Luis Buñuel, Teresa Ricou, ou António da Cunha Telles. Influente crítico de cinema e amigo das principais figuras da cultura do seu tempo, Novais Teixeira viveu entre Espanha, Brasil e França num exílio forçado.

Na Guimarães de hoje, Ana (Cleia Almeida) tenta desesperadamente acabar um trabalho de pesquisa sobre Joaquim Novais Teixeira, orgulhoso vimaranense desaparecido em Paris em 1972. Faltam-lhe o tempo e as forças para editar as horas de entrevistas que recolheu sobre ele, e pede ajuda a Sofia (Maria Raquel Correia) e a Jacinto (Miguel Nunes), cujo maior empenho é dormir. Todos se acabam por emaranhar no véu do fantasma do Novais e de se deixar seduzir por esta figura incontornável. Um homem do mundo, de excecional carácter e inteligência, um sedutor, um homem de princípios, comprometido, independente e confiável. Do Novais Teixeira assim fala gente como Júlio Pomar, Eduardo Lourenço, o filho de Luis Buñuel, Teresa Ricou, ou António da Cunha Telles. Influente crítico de cinema e amigo das principais figuras da cultura do seu tempo, Novais Teixeira viveu entre Espanha, Brasil e França num exílio forçado.

The story of a man who sees his life change radically upon confronting his progressive loss of memory. As his neurological condition advances, it affects not only his own life but the lives of all those who surround him.

The story of a man who sees his life change radically upon confronting his progressive loss of memory. As his neurological condition advances, it affects not only his own life but the lives of all those who surround him.

Carlos Oliveira's literary universe is re-enacted in a studio using the writer’s personal objects and manuscripts, and with the help of Luis Miguel Cintra and Fernando Lopes. Shot with the purpose to document his work in the same way Carlos de Oliveira documented his hometown in Gândara, the film uses all the creative liberty that new digital technology allows in order to recreate the visual and sound records that were also present in the writer and poet’s own work.

Carlos Oliveira's literary universe is re-enacted in a studio using the writer’s personal objects and manuscripts, and with the help of Luis Miguel Cintra and Fernando Lopes. Shot with the purpose to document his work in the same way Carlos de Oliveira documented his hometown in Gândara, the film uses all the creative liberty that new digital technology allows in order to recreate the visual and sound records that were also present in the writer and poet’s own work.

In a remote island where mourning was settled, a man decreed that there will never be sex or children anymore... The island gets desolate and he decided to send his daughter, Adriana, to the mainland to form a family by natural methods.

In a remote island where mourning was settled, a man decreed that there will never be sex or children anymore... The island gets desolate and he decided to send his daughter, Adriana, to the mainland to form a family by natural methods.

Não Me Cortes O Cabelo Que Meu Pai Me Penteou is a collage of two traditional tales present in the anthology of Traditional Portuguese Tales organized by Carlos de Oliveira and José Gomes Ferreira; The first with the same name and the second called "A Dona Maria". The starting situation is one of extreme cruelty, typical of traditional tales. A mother kills her own daughter, who is then reborn as a ghost to (not) marry the prince.

Não Me Cortes O Cabelo Que Meu Pai Me Penteou is a collage of two traditional tales present in the anthology of Traditional Portuguese Tales organized by Carlos de Oliveira and José Gomes Ferreira; The first with the same name and the second called "A Dona Maria". The starting situation is one of extreme cruelty, typical of traditional tales. A mother kills her own daughter, who is then reborn as a ghost to (not) marry the prince.

Lúcia is an independent woman who lives alone in Lisbon. Her father commits suicide leaving her a message on phone recorder, revealing a letter he wrote. However Lúcia can't find it in her father's house. On that visit she ends up meeting with her mother, a known political activist with whom she has a distant and tense relationship. In hope of finding the letter, Lúcia leaves to the farm where she grew up, on an isolated location. There she reencounters Álvaro, an old childhood companion, who shares a little life time he has left between roses and the piano, and the guardian angel that follows and protects her through nocturnal wanderings.

Lúcia is an independent woman who lives alone in Lisbon. Her father commits suicide leaving her a message on phone recorder, revealing a letter he wrote. However Lúcia can't find it in her father's house. On that visit she ends up meeting with her mother, a known political activist with whom she has a distant and tense relationship. In hope of finding the letter, Lúcia leaves to the farm where she grew up, on an isolated location. There she reencounters Álvaro, an old childhood companion, who shares a little life time he has left between roses and the piano, and the guardian angel that follows and protects her through nocturnal wanderings.

Um filme de Margarida Gil sobre o regresso à terra de um homem preso por ter sido incendiário. Uma estreia em televisão. Mário Viegas e Zita Duarte nos seus últimos papéis. A intrpertação de Mário Viegas é considerada antológica no seu papel de bombeiro "Barriga d´água", personagem marginal numa terra de incêndios, terra de fogos e amores violentos. Margarida Gil assinou em 1993 um filme sobre regressos e partidas, encontros e desencontros no país interior. Filmado na Serra da Estrela, um local permanentemente vítima de incêndios. Uma crónica onde se cruzam histórias de amor antigas e novas, velhos crimes e novas formas de corrupção. No fundo, é um olhar sobre a vida e as suas perplexidades, acasos e choque de interesses. Destaque para a música de João Gil e Artur Costa, bem como para o tema cantado por Teresa Salgueiro.

Um filme de Margarida Gil sobre o regresso à terra de um homem preso por ter sido incendiário. Uma estreia em televisão. Mário Viegas e Zita Duarte nos seus últimos papéis. A intrpertação de Mário Viegas é considerada antológica no seu papel de bombeiro "Barriga d´água", personagem marginal numa terra de incêndios, terra de fogos e amores violentos. Margarida Gil assinou em 1993 um filme sobre regressos e partidas, encontros e desencontros no país interior. Filmado na Serra da Estrela, um local permanentemente vítima de incêndios. Uma crónica onde se cruzam histórias de amor antigas e novas, velhos crimes e novas formas de corrupção. No fundo, é um olhar sobre a vida e as suas perplexidades, acasos e choque de interesses. Destaque para a música de João Gil e Artur Costa, bem como para o tema cantado por Teresa Salgueiro.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

A festive day in the Timorense community stranded in the Jamor Valley. A partisan who came from Timor and his story. A look at an abandoned people.

In this highly theatrical TV production, Monteiro again draws on the world of folklore – and, more precisely, on the widespread sexual connotation of the pomegranate – to tell a tale of love, envy, treason and mistaken/double identities.

Parallel tales of young couples desperately escaping cruel false fathers, each couple on the run across different regions of the country and during increasingly contemporary time periods.

By cross-editing footage of Portuguese workers protesting against NATO forces and various movies, Monteiro shows how one 'sword' can confront the army.

Maria works in a German umbrella factory as the foreman of the production sector. João Lucas has given up on living a normal life and practically lives in bed, in the midst of green plants. His father expressly desired that his son film this eccentric daily life in 8 mm format. Maria’s wages are dilapidated to the last penny by this amateur, monstrous, family movie production.

Based on a work by Fernando Pessoa.