António Durães

Maria Vitória lives in a remote village in the Portuguese mountains and plays football on the local boys youth team. Determined to become a professional, she devotes all her free time to intense training with her father. Their routine is shaken by the unexpected return of her older brother, who left many years earlier after a tragic fire that took their mother’s life. As she prepares for the most important match of her life, Maria begins to question her father’s authority and gradually seeks a way to break free and take control of her own future.

A son of a butcher, who is miserable working in his family’s business, avoids touching meat at all costs just because he doesn’t have the guts to tell his father he wants to be vegan.

Álvaro and Jaime, two childhood friends in their twenties, share a particularly critical view of the functioning of society in all its dimensions. Spending much of the day as a video club clerk in order to get some financial income and get around the difficulty they feel in entering into the game of professional careers and status - a refusal that is a personal commitment for them - the two main characters they are plotting a suburb diary. While they understand the nonsense of the existence of a videoclub, at a time when the proliferation of the Internet facilitates access to the contents available there, the two main characters engage in a parallel business selling the herb, using the establishment like facade. The process passes without the knowledge of the owner of the video club, an individual at the end of middle age with a total disinterest for cinema.

Rosa's life, a highly valued professional, is turned upside down when her grandfather Marcelino dies.

The misfortunes of Sofia, the exemplary Madalena and Camila, the troubled vacations of girls and boys, a few years later leading to the resolution of some mysteries, form the perfect trilogy by the Countess of Ségur on education, social, religious, and political power. Desire and its oppression, violence and punishment, in short, the terrible loss combined with inevitable growth. Both adults and children will understand that precepts, rules, and prayers can tear nerves and blood apart.

Gilda is terminally ill. Her only wish is to die without pain, and as all her suicide attempts comically fail, she decides to seek professional help.

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A group of soldiers are sentenced for the murders of key political figures in the night of October 19th, 1921, in the streets of Lisbon. But the names of the conspirators remain unknown. Berta Maia, a widow of the 1910 revolution hero Carlos da Maia, will fight for the truth…

Documentary on the Maldoror tour of Portuguese alternative rock band Mão Morta.

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.

A satire on anti-communist paranoia in the days of fascist dictatorship in Portugal. The series follows the adventures of the "Lusitanian superhero", the ultra-patriotic Captain Falcão, a man who follows the direct orders of António de Oliveira Salazar in the fight against the "red menace".

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

Love suddenly appears, anywhere, age or marital status. A socially criticized condition, one of the lovers, but that happens in so many lives, so many times without intention. Living a relationship of affection for 10, 20 or 30 years, and then looking back is a proposal from Largo do Caldas. A phone that could be a bit of the history of our lives.

Adventurer, pilgrim, penitent but above all outstanding writer, Fernão Mendes Pinto left us an unparalleled romance, the living and human palpitation of one of the greatest historical adventures of man.

Double revenge in two separate stories. Set in both a near future and the historical past, revenge is served not by violence, but by love.

Pavese considered Dialogues with Leucò his best work. Eloquent and at the same time sententious and fragile, but implausible among humanized gods, demigods, heroes, and other pagan figures of Greek mythology, who question, through the imaginary of myths, the society of contemporary man. Out of a time and a certain space, and thus, and like all myths, always current.

A writer immerses himself in his work La muerte del payaso and becomes a hostage of impossible dreams. Between crimes and hallucinations, between the gothic nature of night and the decadence of the sand, a hopeless story is told, based on the work of Raul Brandão.

Two siblings face their problems and undergo a profound inner transformation at a time when they both rediscover themselves. Lidia struggles to cope with her newborn baby: she can’t handle the expectations, doesn’t recognize her body, and distances herself from home and her boyfriend. Her brother Lauro works in a funeral agency. Divorced with a son, he grapples with accepting his bisexuality. Though the siblings rarely saw each other, their shared challenges bring them closer on a journey of rediscovery and profound inner transformation. The light at the end of the tunnel isn’t an illusion; the tunnel is.

In a parallel world Pedro tries to hack his way into joining an exodus to another planet. While he dwells in his dreams and frustrations of being left behind he meets Eva, who challenges him and forces him to come to terms with his purpose.

Set in the Lisbon during the festivities of Saint Anthony, the patron saint of lovers and the old town. The story is about Cato, a nationalist politician who is charismatic and unscrupulous. He obsessively pursues Silvia, a mystical and mysterious young transvestite whom he meets at the festival. When Silvia runs into Vicente, a policeman who arrests transvestites and threatens them, Silvia must look towards blackmail to save herself. Compromising photos of Cato start to emerge among opposition parties and he must do all in his power to save his political career.

A Garrano horse is forced to pull a heavy load under the sun's blazing heat. The young boy, Joel, discovers a man who is about to set the forest on fire.

“An old photograph taken 36 years ago. His hand rests on my shoulder. A blessing, a gift. Then a history of over four decades of friendship, admiration and apprenticeship. A journey into Oliveira’s cinema, his method, his way of filming and his extraordinary cinematic inventions. He lived for over a century, over a century of cinema, cinema in its entirety. For him, and for me too now, documentary and fiction films go hand in hand; it is all about cinema. So I had the audacity to film a magnificent story that Manoel loved but never filmed, one that he left behind as if his hand and eyes were close to God, or among the gods, and he was steering me.” - João Botelho

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.