Teresa evokes a memory. A memory as a place of resistance. A memory suspended in space and time. A place one can return to. The fragmented image of an intimate record. The impression of moments forgotten in time but ready to emerge from oblivion—moments that allow us to build a possible history: the history we want to see. – Tânia Dinis

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.

In a lake surrounded by buildings, a man builds a boat.

It is not the landscape that changes. Every service station is a service station. What changes is being in movement.

Paul and Adèle were once lovers and separated but are still good friends, one year after everything seems to take them away from each other. The key of E-flat may be the key of true friendship, but it is Mozart that pushes them apart...

Azarias is a young orphan shepherd, keeper of a herd of oxen, where the ox Mabata Bata stands out. The oxen will be the basis of the "lobolo" payment, a traditional dowry that his uncle Raul must pay for his own marriage. Azarias’ dream is to be a normal child, to go to school, gold that is supported by his grandmother. One day, when Azariah is in the pasture, Mabata Bata steps into a mine - the result of the civil war in the country - and explodes. The young man fears his uncle's reprisals and flees to the forest, taking with him the remaining oxen. The grandmother and uncle leave in their quest to rescue him and persuade him to return.

An effervescent painterly film tribute – replete with driving organ soundtrack – to 18th-century poet and satirist António Lobo de Carvalho, otherwise known as The Wolf of Madragoa.

The story of a vigilante friar, zealous caretaker of goodness and order who, after suffering unrequited love for an engaged woman, becomes a terrifying villain in a quiet town.

Crime Blue Abyss Physical Remorse is inspired by the life and works of Amadeo de Souza-Cardoso. This controversial 20th century painter defied the world avant-garde of his time: “I don’t follow schools. I am an impressionist, cubist, futurist, abstractionist. A melting pot. The real tradition is not to try and relive the past – which is impossible to achieve – but rather something that sets up a follow-through, as happens with parents and children. A child and his father are never alike.” The film follows Amadeo’s motto. It crosses pictorial fiction – suggested by the emblematic picture “The Procession”, painted in Paris in 1913 – with Portuguese contemporary reality.

'A Távola de Rocha' enables us to enter Paulo Rocha’s universe, to gather memories and find, within his personal and professional relationships, a key to decipher some of the unknown symbols and allusions contained in his films.

A carousel-esque pocket-movie set in a Florentine piazza.

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.

In Victorian London lives a man of adventurous spirit and great wit, Charles Augustus Howell, art agent, art dealer, conspirator and master of blackmail.

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.

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical) Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary.

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

Using a mix of Hollywood aesthetics with documentary strategies, the film follows a young indigenous girl from the Xingu National Park to São Paulo, where she falls in love with a robot that also happens to be a stand-up comedian. This strange story mixes the anthropology of humor, indigenous communities, and artificial intelligence.

A writer immerses himself in his work La muerte del payaso and becomes a hostage of impossible dreams. Between crimes and hallucinations, between the gothic nature of night and the decadence of the sand, a hopeless story is told, based on the work of Raul Brandão.

Jorge de Sena was forced to leave his country. First he moved to Brazil, and later to the USA. He never returned to Portugal. During his 20-year-long exile, he kept an epistolary correspondence with Sophia de Mello Breyner Andresen. These letters are a testimony of the profound friendship between the two poets, letters of longing and of desire to “fill years of distance with hours of conversation”. Through excerpts and verses, a dialog is established, revealing their divergent opinions but mostly their strong bond, and their efforts to preserve it until their last breaths.

Inspired by popular cult, O COVEIRO is part light part darkness, a bedtime story and almost a nightmare. A child is born and his parents die of fright just to see him. André Gil Mata revisits the traditional Portuguese tale, in a fantastic movie where heads bounce, but you hear a song.

This is the story of a man who after living over ten years isolated away from his country, returns to avenge His brother's death. Inspired by the writings of David Henry Thoreau, he is translating 'Civil Disobedience' into Portuguese. The action is set between 1908 and 1910, between the assassination of the Portuguese King and Prince and the creation of the Portuguese Republic, an era where anarchists who fight against the monarchy often cross the path of burglars. On a country where corruption is set, the state representatives try to rob, arrest and kill innocents. The main character faces the tyranny of the state and tries to save the rest of his family. But this is a country where nothing changes.

A headlong dive into the deepest, silliest recesses of Abrantes’s unconscious.

Four people turn to plastic surgery as the last resort in their search for perfection - their appearances will change, but will their lives?

A look back at the history of Brancusi's futuristic golden bronze phallus "Princess X" that is in fact a bust of Napoleon's incredible great-niece, Marie Bonaparte.

A delirious sci-fi riff on the Arabian Nights' 'Tale of the Hunchback', that submerges us in a technological dystopia reigned by Dalaya.com, a mega-corporation that forces its employees to 'relax' at company-run medieval reenactments.

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

Generational conflict within people who live for the countryside, in the countryside. The director and her grandmother.

Penumbria was founded two hundred years ago, in a distant istmus - a place of arid soils, angry seas and violent weather. The city was due its name to the almost permanent shadows and cloudiness. One day, its inhabitants decided to leave, offering Penumbria to time. This is the story of an uninhabitable place.

Constantino works as a keeper of flocks during the day and as a keeper of a museum during the night. He works continuously since he has nowhere to live. Aurora passes by him every morning and end of the day. One day she is brave enough to talk to him.

A boy from Vila do Conde records a love letter on a cassette. His voice blends with music, archive images and stories from the past, some lived and others heard.

He is a miner, everyday tries to go with the river flow. She dreams of escaping too, but she’s trapped...

Based on the installation Santa Paz Domestica, Domesticada by Ana Vieira (1977) and excerpts from the September 22nd, 1956 issue of the magazine O Cruzeiro.

A ghostly meeting with Luís de Camões, the one-eyed adventurer, widely considered Portugal’s greatest poet. Luís de Camões is considered Portugal’s national poet, an equivalent to England’s Shakespeare or Spain’s Cervantes. João Lopes’s film takes us on an otherworldly journey to Camões’s five-hundred-year-old epic Os Lusíadas, which he composed in Macau whilst he was stationed in the colony.

Two childhood friends grew up and face strange feelings now. One of them tries to explore that feelings by words and their relationship becomes uncomfortable. When the words stay in silence they discover what they are looking for.

On a rainy night, a sad man leaves his home to deliver a letter to someone who recently left him. At a corner, he meets a woman who warns him about the slippery road. This is how I met Diana. Suffering from a heartbreak, Gonçalo falls from his motorbike.

One day, an old water pipe caused a ceiling leak. On this ceiling, toxic mushrooms of the order Polypo- rales would grow. Sitting on the toilet, the lady of this house looks up and observes that magical and mys- terious fungus, which is not an animal, nor a plant. The mushroom is the future, she thought.

What the ocean bringeth, the ocean taketh away

In Portugal he was a priest, in Brazil a revolutionary.

Ribeira Quente is a fishing village in S. Miguel Island in the Azores facing the last days of a fishing activity as they know it.

A pocket movie on a train between two stations in Berlin.

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

"Wood was uninterruptedly burning in the home, of that centrifugal place whose actors still offered new worlds to the world born from the sweat of their brows and the clandestine sap of their dreams." Regina Guimarães

Your past already is the projection of your future. However, it was never more than a light in the sky.

A mysterious shadow unveiling a female figure walking naked towards us in the desert. In another sequence, the same woman speaks on the phone, talking about the end of the world. In a third moment, a couple prepares breakfast in their apartment, with the same woman from the previous sequences embracing a baby. What will these three narrative moments have in common? What is the relationship between them? Everything and nothing. Is the answer in the woman’s emotional words on the phone? Or in her helpless expression when walking naked? Or in the happiness she seems to find in the domestic routine? Perhaps the charm is really not in trying to decipher, but in getting lost in this visual and impressionistic poem, this shake that slowly expands in our senses. Max Planck, one of the founders of the ancient quantum physics theory, said that energy has a discontinuous structure and can only exist under the form of fragments. These are the fragments that hide here an ethereal promise.

Abel Salazar, a scientist and an artist persecuted by the Fascist regime in the 40ies, is trying to finish a portrait, obsessed by the face of a woman. Ana, a young researcher in the present days, is dreaming about him. Or is it the other way round?

Welcome to Lisbon: there are mermaids by the Tagus and birds flying over the old city; there are mad scientists and singing fish; lost tourist guides and lost tourists; fado and sad guitars. What a weird city you may think - but no. Lisbon is about being different, sarcastic, welcoming to foreigners even in an economic crisis. Different directors became fascinated by our strangeness. We became fascinated by these directors. The city is never the same in these four episodes, here in Lisbon.

In a rural landscape, that resembles an old Portugal, an elderly man find out that his wife, whom he believed to be dead, was seen shopping in town. Spiteful and sad, he wants to hide from everyone, but his friends insist that he uses this situation to become stronger and try to get married again.

It all started in Mafalala, a poor neighborhood on the outskirts of Lourenço Marques, Mozambique. A kid kicked into rag balls and did not care much about school. This kid was called Eusébio da Silva Ferreira and would become one of the best footballers of all time.

A compilation of films project multiple versions of people won by vida.

A man returns to his hometown many years after a forced departure. He confronts his memories from childhood and from the past, he looks for the old faces and places, but seems that they’re not there anymore. The distance grows even more.

Ubu, instigated by his wife, murders King Venceslau and usurps the throne of Poland. Intoxicated by power, this grotesque and coward character conducts his reign in an absurd and cruel way, leading his kingdom to ruin. A cinematographic adaptation of Alfred Jarry’s play, a political satire that, cyclically, turns to the reality of world politics.