Acácio de Almeida

Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.

Two film directors and a writer are in Portugal for an expedition through various images, moments from the history of Western allegorical representation. The writer is Jean-Louis Schefer, and this tale encapsulates his life’s mission.

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

João is a freelance television journalist. When he begins a new story about an old pigeon breeder in a poor neighborhood on the outskirts of Lisbon, João meets Ana, his teenage granddaughter, a mysterious character who is beginning to exercise an irresistible fascination for him. With the time João starts to lose the interest in the pigeon breeder and begins to take an interest in Ana and her world, which she only shares with another abandoned kid, until she realizes that her life is full of dark stories.

With an off-beat sense of humor to match its erratic central character, this original comedy-drama features Jean-Philippe Ecoffey as Yves, a young man who works as a cop at night. The catch is that Yves turns to petty crime during the day, partly to impress Aurore (Aurelle Doazan), a nurse he idolizes from afar. His criminal hobby seems hard to understand, since it's doubtful that they will really get him anywhere with Aurore; besides, she already has a boyfriend. Nevertheless, Yves starts out by robbing a post office and ends up trying to run over Aurore's boyfriend, an act which finally gets him into serious trouble.

Film directors with hand-held cameras went to the streets of Lisbon from April 25 to May 1, 1974, registering interviews and political events of the Portuguese "Carnation Revolution", as that period would be later known.

Film directors with hand-held cameras went to the streets of Lisbon from April 25 to May 1, 1974, registering interviews and political events of the Portuguese "Carnation Revolution", as that period would be later known.

In the forties, in a little settlement lost amidst the mountains of Trás-os-Montes, Leonardo tries to survive by buying and selling marten and fox furs, dreaming of the day he’ll close a big deal.

The evocation of light in the cinema leads the Character of the Man of Light to ponder over it, over its essence and its multiple manifestations in a revisitation of geographical places and memories.

The evocation of light in the cinema leads the Character of the Man of Light to ponder over it, over its essence and its multiple manifestations in a revisitation of geographical places and memories.

Drawing on a wide mosaic of texts from figures like Montaigne and Kafka, literary and philosophical fragments are used to illustrate and reflect on the human condition. It is a tribute to the landscape and the people who inhabit the Trás-os-Montes region of Portugal, portraying the region not just as a physical space, but as a place where imagination and reality intertwine.