Júlio Alves

I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.

Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?

Chantal Akerman and Pedro Costa meet in a movie theatre.

Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.

Four film critics, accompanied by the discreet presence of a director, analyse the origins of their cinephilia.

In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.

I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.

I find myself in the middle of a Portuguese forest. A set of abandoned objects related to the attraction's fairs make me think of a schoolmate who wanted to be a ballet dancer. Bumper Cars and a rabbit I found in the forest sparked memories of the visits I made to the Fairs. Then I became a memories collector in contact with these objects. David, Empar, Manuel and Zé join me in this film.

Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?

Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?

Chantal Akerman and Pedro Costa meet in a movie theatre.

Chantal Akerman and Pedro Costa meet in a movie theatre.

Chantal Akerman and Pedro Costa meet in a movie theatre.

Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.

Dialogue of Shadows uses the exhibition "Pedro Costa: Company" as its raw material, and as a starting point to build a mosaic, sparking a dialogue between several figures from filmmaker Pedro Costa's creative imagination.

Four film critics, accompanied by the discreet presence of a director, analyse the origins of their cinephilia.

Four film critics, accompanied by the discreet presence of a director, analyse the origins of their cinephilia.

Four film critics, accompanied by the discreet presence of a director, analyse the origins of their cinephilia.

In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.

In what way does contemporaneity look at objectuality, the world of objects and their relations to human beings? Objects are among us, we’re connected to them, they talk; we create them, but we’re also created by them; they affect us, they inhabit our imaginary, they are part of our memory, together with us they create our community. José Bragança de Miranda convenes a peculiar set of objects to this reflexion.

“Sacavém” is a journey through Pedro Costa’s films and focused on his work on “Down to Earth”, “Bones”, “In Vanda's Room“, “Colossal Youth” and “Horse Money” Built on the visual and sound landscape of Pedro Costa’s films and accompanied by his owns reflections on the matter, “Sacavém” serves the audience has a window on how Costas cinema is sensed and conceived.

“Sacavém” is a journey through Pedro Costa’s films and focused on his work on “Down to Earth”, “Bones”, “In Vanda's Room“, “Colossal Youth” and “Horse Money” Built on the visual and sound landscape of Pedro Costa’s films and accompanied by his owns reflections on the matter, “Sacavém” serves the audience has a window on how Costas cinema is sensed and conceived.

António, Zé Maria, and João live in the house they are building. For two years, they reinitiate the process once or twice according to their work in the house. The changes in the bedrooms force constant changes in the living organization. The rooms change. Their habitants change as well. Time passes. The house comes to life.

A small village in the centre of Portugal saw many of its inhabitants emigrate in the 60s and 70s. Many of them came back to "die at home", while others didn’t manage to do so, such as my parents. I go to the village and I visit the places where they were born, lived and died. I try to remake memories. I wonder whether my parents would live as all those who managed to return

On a supermarket shelf, a particular alarm clock keeps blaring off-hand, upsetting the staff and the customers. Eventually, it's golden frame attracts the attention of a shoplifter, who is almost caught by security because of that feature. After escaping without paying from two other stores, the thief will come face to face with a cop - also wearing a long coat similar to the thief's - and the clock will blurt up again - in the wrong pocket.

Short film.

Short film.

Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.

Félix, a Down syndrome child who is passionate about soccer gets the opportunity to take part in the main soccer team in a match against the rival school.

Manuel João Vieira shows us his home - or homes - and the characters who live there. The starting point is the characters' definition and the Casa Manuel Vieira exhibition. The Italian neighbour and the accidental tourist help us create scenarios on the man and the artist. In short, it is Manuel João Vieira and his rather particular working universe.

The perspectives of seven Judicial Police experts on photographs taken during or in the gaps between their professional duties intersect with a cinephile investigation into a forgotten film noir from old Hollywood.