Mafalda Banquart

João is an immaterial girl, refusing to be anything other than what she wants to be, regardless of her age, gender or race. When Tiago looks at her it’s like she’s always a different person. Literally. But when their relationship becomes too real, he will have to confront the prejudices that he doesn’t even know he has, to understand the world that she created for herself.

The Inquisition continues the persecution of Portuguese Jews, sending Visitador Sebastião Noronha to the city of Oporto. With his family and community in danger, António Álvares, decides to outline an escape plan.

“1618” is a film about the inquisitorial visit to Porto that encountered resistance from priests, ordinary citizens and the city authorities themselves, all accustomed for centuries to living alongside the Jews.

The film is liberally inspired by the period when Eça de Queiroz was Portuguese Consul in Cuba, when still a Spanish colony. Eça de Queiroz struggles against local authorities in his defense of Chinese workers, brought to the sugar plantations by greedy middlemen and exploited as slaves. Two parallel stories unfold, that of a Chinese girl which Eça de Queiroz saves from the clutches of one of the island’s most powerful slave owners, and the other of a romance involving a young American woman on holidays in Havana.

Главный герой фильма, казалось бы, счастливый человек, у которого есть дом, семья и работа. Однако родня его совершенно не ценит, а работа кажется мучением. Но одна внезапная встреча изменит его жизнь раз и навсегда…

Однажды летним утром двое незнакомцев встречаются в Лесу потерянных душ — самом популярном в Португалии месте для самоубийств. Девушка и пожилой мужчина решают немного отложить собственную кончину и исследовать местность. Чем дальше они углубляются в лес и узнают друг друга, тем более странные секреты выходят наружу.

Edgar is a jaded photographer. One evening he witnesses a murder. The culprit escapes. Edgar, instead of helping the victim, becomes mesmerized by the expression of pure terror in her face.

We stare at mirrors as if 'image' was a weapon of self-defense. At night, I hide in actors' dressing rooms for a working class experience. By day, I face an old theatre being razed to the ground, making way for a parking lot. Graffitis have curtains, the nose cap of an umbrella arises from a mount of sand. Oh, Happy Days! No need to stage anything! The bulldozer is a dinosaur whose teeth and gracious neck swings by a EU flag. In the boxes, we await the audience. Sometimes, nobody comes. Lost in a symbolic show of reality, I can only watch the world's end because all the endangered species perform and a reflecting labyrinth of life stories breaks through the glass of the Economic Eating Machine. Even when the sky is falling, theatre will always happen. So, choose the right place.