In the outskirts of London, Portuguese couple and parents of three, Bela and Jota, struggle to make ends meet. When a misunderstanding arises at school with their deaf daughter, the British social services grow concerned for the safety of their children. The film portrays the tireless battle of these immigrant parents against the law to keep their family together.
In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town filmmaker: James Benning. Accepting the invitation, Benning met Linklater and the two began to develop a personal and intellectual bond, leading to many future encounters. Starting in the 1960s, Benning had been creating low budget films mostly on his own, while Linklater had just begun to craft his first shorts. The filmmakers have remained close even as their careers have diverged. After the cult success of Slacker, Linklater went on to make films with Hollywood support. Benning, meanwhile, has stayed close to his roots and is mainly an unknown figure in mainstream film culture.
Buenos Aires. Exe, 25 years old, has just lost his job and is not looking for another one. His neighbors and friends seem as odd to him as they always do. Online, he meets Alf, a boy from Mozambique who is also bored with his job and who is about to follow Archie, another boy who has run away into the jungle. Through the dense vegetation of the forest, Archie tracks ants back to their nest. One of them wanders off course and comes across Canh, a Filipino, sitting on top of a giant heap of earth and who is about to go back to his strange, beautiful home town, where he too has a miserable job.
Jake and Mati are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.
Follows Hugo as he takes a gap year and returns to Porto to regain balance with his family, but he attends a concert by Luís Stockman, who plays a theme that Hugo has been writing in his head for years.
Illa de Arousa, 1971. Maria is a woman who earns her living by seafood. She is also known on the island for helping other women in childbirth with special dedication and care. After an unexpected event, she is forced to flee and begins a dangerous journey that will make her fight for her survival. Seeking her freedom, Maria decides to cross the border by one of the smuggling routes between Galicia and Portugal.
A compilation of films project multiple versions of people won by vida.
Augustina Muñoz, an Argentine actress of Galician origin, is visiting her family in a Galician village on the border with Portugal. While visiting the house where her grandmother spent her childhood, she also takes advantage of these days to rehearse the texts in Portuguese of William Shakespeare's A Tempestade, as she had been invited by a theater company to perform the play in the Azores archipelago. She travels to the islands by boat, but when she arrives, she doesn't find anyone from the company or anyone on the island who knows about the show. Finding herself alone on the island, she begins to investigate what would have happened and little by little, as she immerses herself in the reality of the Azores and discovers the magic of the place and its people, her curiosity for the island increases, forgetting what brought her there.
Your past already is the projection of your future. However, it was never more than a light in the sky.
Canned Dreams shows the multi-branching network of the modern food industry. The Finnish consumer buys a can in the grocery store, but where from far away do the raw materials and packaging materials for the preserves come from - and through how many hands? The film not only traces the various stages of the production process, but gives a voice to the people who work as part of it.
A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.
Lovecraft and Pessoa were among the most influential writers of the 20th century. Cartas Telepáticas is a film, created with AI images, that explores the invisible links between the unique points of view of these two authors
In Portugal he was a priest, in Brazil a revolutionary.
Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.
In a parallel world Pedro tries to hack his way into joining an exodus to another planet. While he dwells in his dreams and frustrations of being left behind he meets Eva, who challenges him and forces him to come to terms with his purpose.
Two brothers, who haven't spoken in years, meet at their mother's funeral where they must deal with their mourning family, their obligations as sons and their own feelings of loss.
During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.
On All Saint’s Day 1755, around 09:40 hours, Lisbon was hit by an earthquake which eradicated almost the entire city. 345 years later (D.T. = depois de terramoto) means 2100 AD. Will Portugal’s capital be a Garden of Earthly Delights when we reach the year 2100? Pêra’s animation classic provides unexpected (in)sights about it.
The art of memory is a classic technique that associates images with places through a process of remembrance and meaning. From the memory of places and their context, the documentary delves into the creative process of three contemporary visual artists: Daniel Blaufuks, Pedro Bastos and José Rufino. Despite the different expression approaches of each author, we find points of communication in the way memory operates in their works. By rummaging through the hazards and disorder, we arrive at the director's personal mythology, assuming that memory is a fiction like any film.
Posfácio works at the factory of Madam Cannon and dates her daughter Claudete. Everything would be going great for Posfácio, if it wasn't for terrorist plans from his work buddies Marques and Mendes.
