Vasco Viana

A story developed in two different narratives which are interlinked. On the first one, the two friends Bruno Nogueira and Gonçalo Waddington (playing themselves) set out on a caravan trip through Portugal with the desire to escape from their daily lives and find a solution for their personal struggles. On the second one, there's the fictionalized making-off of the miniseries itself.

A journey through Lisbon’s suburbs through the lives of a handful of musicians establishing their place to exist in a city of complex identity struggles. Different generations and backgrounds meet, Angola to São Tome, Cabo Verde and Guine Bissau represented by old musicians and young producers.

We wanted to make a film about a teenage mother. We met Joana in a casting that took place in Setubal, in the Bela Vista neighborhood. She appeared to us as a porcelain doll, small, fragile, pale, with a little hair bow. Little by little, she crumbled apart, revealing a charming complexity. We were conquered by the duality of strength and fragility, freedom and incarceration, joy and sorrow. The intimacy and complicity we were able to establish with her made this film possible. In Cat's Cradle, we share her with everyone else.

A behind the scenes look at Gonçalo Waddington's new film, Patrick, visiting the shooting locations and interviewing the main protagonists.

A story developed in two different narratives which are interlinked. On the first one, the two friends Bruno Nogueira and Gonçalo Waddington (playing themselves) set out on a caravan trip through Portugal with the desire to escape from their daily lives and find a solution for their personal struggles. On the second one, there's the fictionalized making-off of the miniseries itself.

A journey through Lisbon’s suburbs through the lives of a handful of musicians establishing their place to exist in a city of complex identity struggles. Different generations and backgrounds meet, Angola to São Tome, Cabo Verde and Guine Bissau represented by old musicians and young producers.

We wanted to make a film about a teenage mother. We met Joana in a casting that took place in Setubal, in the Bela Vista neighborhood. She appeared to us as a porcelain doll, small, fragile, pale, with a little hair bow. Little by little, she crumbled apart, revealing a charming complexity. We were conquered by the duality of strength and fragility, freedom and incarceration, joy and sorrow. The intimacy and complicity we were able to establish with her made this film possible. In Cat's Cradle, we share her with everyone else.