John 2017
We are in the year 2043 and our existence is immersed in a sea of apathy. A reflexion about our evolution as humans.
We are in the year 2043 and our existence is immersed in a sea of apathy. A reflexion about our evolution as humans.
A medieval tale about a soldier and his responsibility in announcing the tragic death of the King in combat.
Dawn. Through the mist, morning's early light arises. But a stronger one stands out. It's a wildfire that spreads in the distance. From her home, in the top of the mount, a worried woman faces the flames. But it's not the proximity of danger that troubles her. Inside her house, her daughter sleeps, indifferent to the smoke that enters her room.
Around a feeling of dysphoria, figures move within a dream processed in cyanotype.
Alex, in his neighbourhood, learned to grow up by his own will. His father drives a cab, but today he is sick and is not going to work. Alex leaves home with his father's car and drives to his school, looking for his friend Rafa. Today is a different day.
In an empty house, we see the memories of a home, from those who once lived and filled it with joy and love.
Fontelonga is a village of Trás-os-Montes, in the interior of Portugal. A mirror of exile in the eyes of their own people. A reflexion where memory is the last object of beauty and redemption.
Pedro is a young man, carrying the weight of the world on his shoulders, but one day, he wakes up feeling different.
In a remote rural area, a woman on the run has a supernatural encounter surrounded by enigmatic sounds. As she immerses herself in that reality, she is confronted with unexpected phenomena that her rational mind cannot understand.
Short animation film about the fear of singing in public
A November day in Porto, in a square where skaters jump up a flight of stairs. Three characters share a moment, which is divided into three subjective shots and which, without dialogue, are intended to characterize them emotionally. The idea of shared love is called into question.
Rua de Santa Catarina, a street that was formerly home to dozens of local businesses and hundreds of Porto residents, now sees a crowd of tourists attracted by the cheap, disposable amenities that are popping up everywhere at once. Gentrification has decontextualized Portuguese culture, rendering the landscape uncanny. The Basin Woman, a symbol of the female workers of the historic Bolhão Market, is chased down by seagulls in the midst of this transcendent chaos.
Valentina and Vasco are siblings and live in their father's house. He is protective, but most of the time he is an idiot. However, Valentina takes refuge in writing and reading, and is an aspiring poet. At the same time, she finds herself in a situation with her boyfriend, Alexandre, and needs to know how to deal with them.
The wanderer Rascal embarks on a psychotic and contradictory journey to break out of the ego bubble in which his self-loathing and isolation have inserted him in. After his metamorphosis, his soulmate, Paloma, makes him realize that life is as complicated as it is simple - and that all that's left to do is to live.
Vasco is exposed to his brother's extremist ideals, expressed through the National Socialist Black Metal genre. However, Vasco doesn't identify with the movement's nature and hides from his brother an essential aspect of his life, in order to avoid a fraternal break, while tracing the path of self-acceptance.
In the microcosm of a fragment of a resin sculpture, we observe fossilized eucalyptus leaves. The suspended still life, where we think we see specters of a world-image, is demystified by the sound of the tumultuous Cure.
A group of boys shatters the matriarchal memory of an old bedroom. In the face of impending danger, the older boys vie for leadership. As the evening progresses, they turn to violence. Chico, the young misfit, finds a tragic portent of desire.
A game of Paintball emerges as a vehicle for the exploration of masculinity and power dynamics among a group of boys.
Short animation film by Beatriz Oliveira
'Hey' is a short film by Gonçalo Oliveira and Leonor Cunha Ferreira