Licínio Azevedo

In 1989, Mozambique is a country ruined by civil war. The train that connects Nampula to Malawi is the only hope for people willing to risk their lives to exchange a few bags of salt for sugar. Running slowly over sabotaged tracks, the journey is filled with obstacles and violence. Mariamu, a frequent traveler, shares her trip with her friend Rosa, a nurse who is going to her new hospital, living the reality of war for the first time, Lieutenant Taiar, who only knows the reality of his military life, and another soldier, Salomão, with whom he doesn’t get along. Amongst bullets and laughter, stories of love and war unfold as the train advances towards the next stop.

In the middle of Mozambique truckers stop for the night at a small village where local girls are waiting for customers.

In the form of a short political fable, Nhinguitimo explores the relations between the dispossession of rural land—and its crops—and the colonial system. The story of the rebellion of one single farm worker against the colonizers six decades ago can also shape a reflexion on the persisting exploitation of the territory and its people.

Four stories in a Mozambican village. Stories about a water can, a well that gets broken, a lonely hunter, and a bird that becomes a radio.

Two boys with different experiences and goals meet up in a sprawling African market. One is looking for a job, to get back what was stolen from him and return home. The other will do anything to avoid having to go back with his family. They become friends and together they reinvent the world.

“A Colheita do Diabo is my first major film experience (…) in which for the first time, aside from theatre actors, I used people who had no [film] experience. The main characters were former fighters, former FRELIMO guerrilla fighters who took part in the war for independence.” Licínio de Azevedo

In 1989, Mozambique is a country ruined by civil war. The train that connects Nampula to Malawi is the only hope for people willing to risk their lives to exchange a few bags of salt for sugar. Running slowly over sabotaged tracks, the journey is filled with obstacles and violence. Mariamu, a frequent traveler, shares her trip with her friend Rosa, a nurse who is going to her new hospital, living the reality of war for the first time, Lieutenant Taiar, who only knows the reality of his military life, and another soldier, Salomão, with whom he doesn’t get along. Amongst bullets and laughter, stories of love and war unfold as the train advances towards the next stop.

In 1989, Mozambique is a country ruined by civil war. The train that connects Nampula to Malawi is the only hope for people willing to risk their lives to exchange a few bags of salt for sugar. Running slowly over sabotaged tracks, the journey is filled with obstacles and violence. Mariamu, a frequent traveler, shares her trip with her friend Rosa, a nurse who is going to her new hospital, living the reality of war for the first time, Lieutenant Taiar, who only knows the reality of his military life, and another soldier, Salomão, with whom he doesn’t get along. Amongst bullets and laughter, stories of love and war unfold as the train advances towards the next stop.

In the middle of Mozambique truckers stop for the night at a small village where local girls are waiting for customers.

In the middle of Mozambique truckers stop for the night at a small village where local girls are waiting for customers.

In the middle of Mozambique truckers stop for the night at a small village where local girls are waiting for customers.

In the form of a short political fable, Nhinguitimo explores the relations between the dispossession of rural land—and its crops—and the colonial system. The story of the rebellion of one single farm worker against the colonizers six decades ago can also shape a reflexion on the persisting exploitation of the territory and its people.

In the form of a short political fable, Nhinguitimo explores the relations between the dispossession of rural land—and its crops—and the colonial system. The story of the rebellion of one single farm worker against the colonizers six decades ago can also shape a reflexion on the persisting exploitation of the territory and its people.

Four stories in a Mozambican village. Stories about a water can, a well that gets broken, a lonely hunter, and a bird that becomes a radio.

Four stories in a Mozambican village. Stories about a water can, a well that gets broken, a lonely hunter, and a bird that becomes a radio.

Two boys with different experiences and goals meet up in a sprawling African market. One is looking for a job, to get back what was stolen from him and return home. The other will do anything to avoid having to go back with his family. They become friends and together they reinvent the world.

Two boys with different experiences and goals meet up in a sprawling African market. One is looking for a job, to get back what was stolen from him and return home. The other will do anything to avoid having to go back with his family. They become friends and together they reinvent the world.

“A Colheita do Diabo is my first major film experience (…) in which for the first time, aside from theatre actors, I used people who had no [film] experience. The main characters were former fighters, former FRELIMO guerrilla fighters who took part in the war for independence.” Licínio de Azevedo

1975, Mozambique’s rebirth as an independent nation. The young revolution sweeps the streets of Maputo clean of prostitutes and bad habits. The prostitutes are sent to re-education camps deep in the countryside, where they will become “new women” – loyal comrades of the new nation. As the “clean-up” takes place, Margarida, a 16-year-old girl from the countryside, is mistakenly taken. Drawing on the stories of real women, Virgin Margarida is a dramatic exploration of a little known chapter in Mozambique’s history. A chapter that made no allowance for individuality and enshrined male domination as an ideology.

1975, Mozambique’s rebirth as an independent nation. The young revolution sweeps the streets of Maputo clean of prostitutes and bad habits. The prostitutes are sent to re-education camps deep in the countryside, where they will become “new women” – loyal comrades of the new nation. As the “clean-up” takes place, Margarida, a 16-year-old girl from the countryside, is mistakenly taken. Drawing on the stories of real women, Virgin Margarida is a dramatic exploration of a little known chapter in Mozambique’s history. A chapter that made no allowance for individuality and enshrined male domination as an ideology.

Accused of having caused the death of her husband, she was persecuted and humiliated. Twice she proved her innocence. Even so, she was punished in a merciless fashion.

A small island, a great history. Long before giving its name to the country, the Mozambique island had a fundamental role in the Indian Ocean during centuries. Anchor point for caravels, meeting point for pirates, it is a melting pot of races. It raises its walls in the middle of the sea. Its winding streets full of life reveal small palaces, churches and white houses. Its inhabitants are eccentric characters, proud of the island's past history. As we wander through the streets we meet an historian, a maritime archaeologist, a fisherman, the "doorman" of the island, a dancer, many spirits...

A small island, a great history. Long before giving its name to the country, the Mozambique island had a fundamental role in the Indian Ocean during centuries. Anchor point for caravels, meeting point for pirates, it is a melting pot of races. It raises its walls in the middle of the sea. Its winding streets full of life reveal small palaces, churches and white houses. Its inhabitants are eccentric characters, proud of the island's past history. As we wander through the streets we meet an historian, a maritime archaeologist, a fisherman, the "doorman" of the island, a dancer, many spirits...

In the colonial era the Grande Hotel in the city of Beira was the largest in Mozambique: 350 rooms, luxurious suites, Olympic-sized swimming pool... At present the building, which is in ruins, with no electricity or running water, is inhabited by 3500 people. Some have been living there for twenty years. In addition to the rooms, the foyers, corridors, service areas and basement of the hotel - here it's always night-time - also serve as residences.

In the colonial era the Grande Hotel in the city of Beira was the largest in Mozambique: 350 rooms, luxurious suites, Olympic-sized swimming pool... At present the building, which is in ruins, with no electricity or running water, is inhabited by 3500 people. Some have been living there for twenty years. In addition to the rooms, the foyers, corridors, service areas and basement of the hotel - here it's always night-time - also serve as residences.