Marta Pessoa

A film that scrutinizes the idea of “soft racism” and how it comes to drink from the exalted Portuguese colonialism. The titular Rosinha is a Guinean native who became the symbol of the first Portuguese colonial exhibition presented by the Estado Novo in 1934. A trip to the past to better understand the present.

Documentary about the old people living in the highest floors of old buildings with no lifts, in Lisbon.

"The Lurking Fear" interviews Portuguese citizens whose lives where hit by the torture of its fascist political police.

"The Lurking Fear" interviews Portuguese citizens whose lives where hit by the torture of its fascist political police.

"The Lurking Fear" interviews Portuguese citizens whose lives where hit by the torture of its fascist political police.

Emilia is a writer, living in Lisbon in the year 1959. She is the “Damsel Warrior”, a fictional woman composed from the literary universes of Maria Judite de Carvalho and Irene Lisboa, writers of the city and the characters that inhabit it.

Emilia is a writer, living in Lisbon in the year 1959. She is the “Damsel Warrior”, a fictional woman composed from the literary universes of Maria Judite de Carvalho and Irene Lisboa, writers of the city and the characters that inhabit it.

Dawn is breaking into day. Fair day. As in every year. But this is a year of mourning. "It doesn't look right!" Vera says to her sister. And her mother-in-law looks at her and remembers the dead son. Remembrance is a silence between the two of them. Children's voices come from outside. Lucia wants to go to the fair with her uncle and cousin. "You promised!" claims the daughter. Vera consents in letting her go. Lucia waves her hand as the tractor drives away. Chance, once again. An accident. Death, always so close, so alive.

Dawn is breaking into day. Fair day. As in every year. But this is a year of mourning. "It doesn't look right!" Vera says to her sister. And her mother-in-law looks at her and remembers the dead son. Remembrance is a silence between the two of them. Children's voices come from outside. Lucia wants to go to the fair with her uncle and cousin. "You promised!" claims the daughter. Vera consents in letting her go. Lucia waves her hand as the tractor drives away. Chance, once again. An accident. Death, always so close, so alive.

50 years after its beginning, it's still a delicate and hermetic subject today, based on an exclusively male speech, as if veterans were war's only owners and victims. When a country is at war though, is there anybody left out? Warriors is a generation's war movie, told by those who were left behind to wait, those who chose to be there and those who ran to rescue the soldiers from the battle's front lines. A female insight on war.

50 years after its beginning, it's still a delicate and hermetic subject today, based on an exclusively male speech, as if veterans were war's only owners and victims. When a country is at war though, is there anybody left out? Warriors is a generation's war movie, told by those who were left behind to wait, those who chose to be there and those who ran to rescue the soldiers from the battle's front lines. A female insight on war.

Woman seeks house to domesticate. Wants sensitive, versatile space, any age, with sense of humour. Offers availability of feelings. Has references. Schedule to be arranged.

A film that scrutinizes the idea of “soft racism” and how it comes to drink from the exalted Portuguese colonialism. The titular Rosinha is a Guinean native who became the symbol of the first Portuguese colonial exhibition presented by the Estado Novo in 1934. A trip to the past to better understand the present.

A film that scrutinizes the idea of “soft racism” and how it comes to drink from the exalted Portuguese colonialism. The titular Rosinha is a Guinean native who became the symbol of the first Portuguese colonial exhibition presented by the Estado Novo in 1934. A trip to the past to better understand the present.

A film that scrutinizes the idea of “soft racism” and how it comes to drink from the exalted Portuguese colonialism. The titular Rosinha is a Guinean native who became the symbol of the first Portuguese colonial exhibition presented by the Estado Novo in 1934. A trip to the past to better understand the present.

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.

In early 1985, the writer Nuno Bragança hands his friend Carlos Antunes a 13 question’s questionnaire; 13 sheets of graph paper, of which he offered the recto-verso of each for his friend to answer. The questions were about Carlos Antunes’ personal and political career, with a special interest in his involvement in the Revolutionary Brigades and the armed struggle against the dictatorship that led to his arrest in 1978. The untimely death of the writer, in the same year, left the questionnaire unanswered and some uncertainty as to its purpose. After almost 30 years, the director asks Carlos Antunes to answer the 13 questions and to reconstruct the achievements, illusions and sorrows of the Revolutionary Brigades in Portugal, in the years surrounding the Carnations’ Revolution in 1974.

Between 1947 and 1949, the writer Maria Lamas traveled the country to publicize the reality in which Portuguese women lived. The result of this tour was the book "As Mulheres do Meu País". More than 70 years later, director Marta Pessoa and writer Susana Moreira Marques seek to understand what this book is and what it can tell us today.

Between 1947 and 1949, the writer Maria Lamas traveled the country to publicize the reality in which Portuguese women lived. The result of this tour was the book "As Mulheres do Meu País". More than 70 years later, director Marta Pessoa and writer Susana Moreira Marques seek to understand what this book is and what it can tell us today.

One day, a woman appeared at the Vigilatório de Enfermidades Comuns e Ordinárias (Common and Ordinary Illnesses Clinic) complaining of itching. A strange mold had grown on her back...

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