Saguenail

Maria and Matías feel life is slipping through their fingers, and turn to birds, real and imagined, in a search for meaning and connection.

Discussing cinema during a pandemic – a revisit to an online film club, after thirty post-viewing discussion sessions that took place during the first lockdown.

Carolina, an aging local grande dame who works at a crossing point on the titular river, marries another late-in-life character, the dredging-boat operator Antonio. Not long after their union, she becomes intensely jealous of Antonio's fondness for their winsome goddaughter, Joana, and insinuates herself into a relationship brewing between Joana and a mystical gypsy gold salesman. Soon, tempers are flaring, mystical secrets are being revealed and death is hovering over the central characters.

In an empty theatre, a woman is watching an American film - "Ma's Sin" - which tells the weird revenge story of a middle-aged wife, driven mad by jealousy and a deep feer of dying. During the screening, the viewer's fantasies embodied in male characters harass her. Thus she will live the double adventure of the projected motion picture and of her own mental film. But as the lights turn on, she leaves the theatre, apparently unaffected.

The Life of Mirrors is one of the sections of the exhibition Luis Miguel Cintra - Small Theatre of the World. A commission by Serralves Foundation to Regina Guimarães and Saguenail, and constructed after an unpublished interview with Luis Miguel Cintra, this film is the result of a long and painstaking exercise of selecting and editing excerpts from films by Manoel de Oliveira in which Cintra participates as an actor. In this way, The Life of Mirrors is a reflective, retrospective essay film, which opens the Carte Blanche, thus establishing a gateway to Luis Miguel Cintra's cinematographic and cinephile career.

No synopsis available yet.

Discussing cinema during a pandemic – a revisit to an online film club, after thirty post-viewing discussion sessions that took place during the first lockdown.

In an empty theatre, a woman is watching an American film - "Ma's Sin" - which tells the weird revenge story of a middle-aged wife, driven mad by jealousy and a deep feer of dying. During the screening, the viewer's fantasies embodied in male characters harass her. Thus she will live the double adventure of the projected motion picture and of her own mental film. But as the lights turn on, she leaves the theatre, apparently unaffected.

In an empty theatre, a woman is watching an American film - "Ma's Sin" - which tells the weird revenge story of a middle-aged wife, driven mad by jealousy and a deep feer of dying. During the screening, the viewer's fantasies embodied in male characters harass her. Thus she will live the double adventure of the projected motion picture and of her own mental film. But as the lights turn on, she leaves the theatre, apparently unaffected.

The Life of Mirrors is one of the sections of the exhibition Luis Miguel Cintra - Small Theatre of the World. A commission by Serralves Foundation to Regina Guimarães and Saguenail, and constructed after an unpublished interview with Luis Miguel Cintra, this film is the result of a long and painstaking exercise of selecting and editing excerpts from films by Manoel de Oliveira in which Cintra participates as an actor. In this way, The Life of Mirrors is a reflective, retrospective essay film, which opens the Carte Blanche, thus establishing a gateway to Luis Miguel Cintra's cinematographic and cinephile career.

No synopsis available yet.

Porto 2001 project, made in the prison of Paços de Ferreira. Nuno Cardoso, the play director, develops this work with the prisoners during the time period of one year. Documentation of the process: conversations with the prisoners in the context of the process of artistic creation and the theater project. Interviews and testimonials with various people who cross their experiences, their view of life and their life behind bars, with the development of the play.

No synopsis available yet.

From Jacques Prévert's poem “Petit déjeuner du matin”, Mau Dia experiences a dilation of the time in which the banality hides the lived drama. All elements are decomposed and then rebuilt - painted walls, orchestrated rain, spoiled actions, depicted or sung…

From Jacques Prévert's poem “Petit déjeuner du matin”, Mau Dia experiences a dilation of the time in which the banality hides the lived drama. All elements are decomposed and then rebuilt - painted walls, orchestrated rain, spoiled actions, depicted or sung…

An act of passion, filmed in a church turned into a bar, on Easter 2003, and starring as many actors as the days of the year… Taking the sacred painting as a reference, the film questions the human condition: letting oneself die like Christ or betray scientifically like Peter?

An act of passion, filmed in a church turned into a bar, on Easter 2003, and starring as many actors as the days of the year… Taking the sacred painting as a reference, the film questions the human condition: letting oneself die like Christ or betray scientifically like Peter?

Portrait of a time and a country through the plotless story of an unassuming couple, questioning seeming antagonisms that conceal mysterious kinships, and highlighting an intrinsic contradiction of cinema: while fabricating images, film language creates objects that are deeply different from the original models

No synopsis available yet.

From Manet's painting – Le Déjeuner sur l'herbe – two women and two men slip from the timelessness of the museum into our present day. They have come to picnic and enjoy a pleasant swim in the river. The men approach them and, with little attempt to conceal their aggressive libidinous intentions, threaten the happiness of the moment, the serenity of the place, and the integrity of the bathers. This fragment of Eden and everything around it is inhabited by a naturalized social violence...

From Manet's painting – Le Déjeuner sur l'herbe – two women and two men slip from the timelessness of the museum into our present day. They have come to picnic and enjoy a pleasant swim in the river. The men approach them and, with little attempt to conceal their aggressive libidinous intentions, threaten the happiness of the moment, the serenity of the place, and the integrity of the bathers. This fragment of Eden and everything around it is inhabited by a naturalized social violence...

From Manet's painting – Le Déjeuner sur l'herbe – two women and two men slip from the timelessness of the museum into our present day. They have come to picnic and enjoy a pleasant swim in the river. The men approach them and, with little attempt to conceal their aggressive libidinous intentions, threaten the happiness of the moment, the serenity of the place, and the integrity of the bathers. This fragment of Eden and everything around it is inhabited by a naturalized social violence...

A film motivated by anger at the frivolity with which sex is treated in cinema. On the aquarium screen, an attempt is made to materialize thought.

Based on biographical data that refer to, and transform, the experiences, aspirations, memories, etc. of the performer, Alma Depenada stages the need to dialogue with the double(s), whose corollary is, paradoxically, to harass them, chase them away, and ultimately kill them.

The original family is expelled from Eden and forced to face the hardships of existence. However, each of its members sees the world differently. Tensions, jealousy, and feelings of guilt lead Adam, Eve, and Cain to gang up against Abel, forcing him to make the first sacrifice.

No synopsis available yet.

A film by Saguenail

A documentary view of the practices of popular culture in the most jubilant of the local pagan festivities.

Antónia didn't play with dolls, nor did she learn to read and write at the age when children go to school and don't usually sell their labor power. She experienced the harsh social inequalities of Salazarism. Used to toiling from sun up to sun down, work is still her "sport" today. She regrets that those who miss the dictatorship are not forced to experience in the flesh what fascism was like... She tells us all this while her hands prepare the dough for the Easter cakes, scented with aniseed, with the zeal of a master.

No synopsis available yet.

We're at war. Every day, bombs explode. Everywhere. The terrorist attack is unstoppable. The enemy is invisible. And yet as weapons they are alike. There are common interests. And the common denominator is financial. The alliance game is constantly traded and modified on the world chessboard. The shares do not follow the course of the shares on the Stock Exchange. There are victims but the damages are all collateral. It is necessary to reconstruct a geography as a History is rewritten. And I think every window is a mirror, every image a reflection. Eight symbolic characters that represent metaphorically some of the forces that dominate the contemporary world: USA, Russia, Europe, Third World; Major sectors: Armament, Energy Resources, Finance, Bureaucracy; Ideological Oppositions: Traditionalist Past, Youth Revolted, Cynical Opportunism, Conformist Disenchantment - playing a game of verbal chess for a moment may decide the near future.

In an enclosed space of a café for an entire night, a set of characters try to verbalize their thirst for love and their fear that love will overwhelm them.

In an enclosed space of a café for an entire night, a set of characters try to verbalize their thirst for love and their fear that love will overwhelm them.

A paralyzed man travels across the city of Porto, finding characters and scenes from popular tales along the way.

Ateliers Ângelo films the artist's Ângelo de Sousa workspaces shortly after his death. Its absence is now an immense presence and impossible to represent.

AUTREFOIS illustrates, disillustrates and counter-illustrates a monologue by Charles Crosby - narrated by Gilles Mayoux with a jazz background of Bertrand Bishop and Claude Santelli - in which all modes of existence are identified with the harms of progress.

America is a legend, an idea. To rediscover the traces of such an idea within the reality of a city requires a transformation of this very city into ideas and legends, to the point that life and death, the real and the imaginary, past and future, that which can be communicated, and that which cannot,high and low are open to a contradictory understanding. Film made between 1981 and 1985.

What characterizes the spaces, differentiating the fields of the cities, the suburbs of the centers is, in large part, the speed of their modification. The circulation experience will have allowed us to compare the looks of foreign artists with the looks of local children, to measure resistance and change capacities.

On leaving university, what do students do with their acquired baggage? Is it for them to find a job that meets their expectations? And how do they see the university once the study cycle they have completed there?

No synopsis available yet.

No synopsis available yet.

It introduces a women's singing group from Alentejo, their testimonies about the periods of the dictatorship and the April revolution, and their experiences working in the fields before and during the agrarian reform. With the presence of the authors and the Viana do Alentejo Women's Choral Group.