Pierre-Marie Goulet

The film intends to substantiate into images and sounds the feeling of an underground analogy, no doubt partly subjective, based on Portuguese and Turkish topography and culture, while also calling upon the silent continuity of Muslim culture within Portuguese culture. By triggering encounters between members of the two cultures, one reveals what weaves the bonds between two universes so seemingly distant from one another, aside from historical facts.

Mesmerized by the songs of Peroguarda villagers in southern Portugal’s Alentejo region, young Portuguese modern poet Antonio Reis, Corsican researcher of Portuguese folk music Michel Giacometti, and film director Paulo Rocha visited the village one after another in the late 1950s. This work refreshes the soul and flows with songs and poetry seeped in sadness, as well as the atmosphere of the quiet sea and village, fields adorned with vibrant red flowers, and roads traveled by Reis and the others, while interspersing images from Paulo Rocha’s films.

Traveling by the experience and by the roots of one of the strongest manifestations of Portuguese popular culture – singing polyphonic Alentejo. Evoking Michel Giacometti, the film questions the origins of the “sing” in the context of Mediterranean culture.

When children are born, they cry. No, they are screaming. For what ? Would birth be as scary and terrifying for the child as giving birth was for the mother? This film answers. He says: yes, coming into the world is a torture, a terror for the child. But this film also says what must be done to transform this "arrival" so that a great shadow no longer comes to darken all the life that follows.

The stories of Nasreddin carry out a reversal of 'point of view' which shatter our established way of seeing things, people, the world and their relationships.

No synopsis available yet.

The film intends to substantiate into images and sounds the feeling of an underground analogy, no doubt partly subjective, based on Portuguese and Turkish topography and culture, while also calling upon the silent continuity of Muslim culture within Portuguese culture. By triggering encounters between members of the two cultures, one reveals what weaves the bonds between two universes so seemingly distant from one another, aside from historical facts.

Mesmerized by the songs of Peroguarda villagers in southern Portugal’s Alentejo region, young Portuguese modern poet Antonio Reis, Corsican researcher of Portuguese folk music Michel Giacometti, and film director Paulo Rocha visited the village one after another in the late 1950s. This work refreshes the soul and flows with songs and poetry seeped in sadness, as well as the atmosphere of the quiet sea and village, fields adorned with vibrant red flowers, and roads traveled by Reis and the others, while interspersing images from Paulo Rocha’s films.

Mesmerized by the songs of Peroguarda villagers in southern Portugal’s Alentejo region, young Portuguese modern poet Antonio Reis, Corsican researcher of Portuguese folk music Michel Giacometti, and film director Paulo Rocha visited the village one after another in the late 1950s. This work refreshes the soul and flows with songs and poetry seeped in sadness, as well as the atmosphere of the quiet sea and village, fields adorned with vibrant red flowers, and roads traveled by Reis and the others, while interspersing images from Paulo Rocha’s films.

Traveling by the experience and by the roots of one of the strongest manifestations of Portuguese popular culture – singing polyphonic Alentejo. Evoking Michel Giacometti, the film questions the origins of the “sing” in the context of Mediterranean culture.

When children are born, they cry. No, they are screaming. For what ? Would birth be as scary and terrifying for the child as giving birth was for the mother? This film answers. He says: yes, coming into the world is a torture, a terror for the child. But this film also says what must be done to transform this "arrival" so that a great shadow no longer comes to darken all the life that follows.

When children are born, they cry. No, they are screaming. For what ? Would birth be as scary and terrifying for the child as giving birth was for the mother? This film answers. He says: yes, coming into the world is a torture, a terror for the child. But this film also says what must be done to transform this "arrival" so that a great shadow no longer comes to darken all the life that follows.

The stories of Nasreddin carry out a reversal of 'point of view' which shatter our established way of seeing things, people, the world and their relationships.

The stories of Nasreddin carry out a reversal of 'point of view' which shatter our established way of seeing things, people, the world and their relationships.

No synopsis available yet.

No synopsis available yet.

A 20-year veteran of the Angolan civil war returns to the capital city of Luanda where he faces the challenges of assimilation and survival.

Père Lachaise cemetery reflects the socio-economic hierarchy of French society during the second half of the 19th century. The film pays homage to the Communards who were shot and whose simple commemorative gravestone contrasts with the insolence of the monuments of the great bourgeois families.