Joana da Cunha Ferreira

Lisbon, Portugal, 2010. Pilar, a pious woman devoted to social causes, maintains a peculiar relationship with her neighbor Aurora, a temperamental old woman obsessed with gambling who lives tormented by a mysterious past.

When a terminally ill French actress decides to spend her last vacation with her large family in Sintra, her relatives grapple with their own insecurities.

A journey inside the tram crossing the city of Lisbon while listening to fragments of Fernando Pessoa's poetry.

Manuel bids farewell to his routine and boards a 15th century vessel under pirate law. Treason on board triggers a series of terrible events our protagonist overcomes while keeping his moral principles intact.

A look back at the history of Brancusi's futuristic golden bronze phallus "Princess X" that is in fact a bust of Napoleon's incredible great-niece, Marie Bonaparte.

On a summer's day, a mother, daughter and granddaughter's care-free day trip comes to an abrupt end. Beautiful and restrained.

A theatre having national as part of its name, at the top of a square, reflecting a country’s history. But which one? This is a voyage through the various narratives about D. Maria II National Theatre, forged through the intentions of the several regimes that intended to convey their own ideologies within the theatre’s mission. This is also the story of those who fought against it, opposed the institution and became part of it. How can one become heir of these stories, even if never having set foot inside.

Documentary on the work of Portuguese artist Joana Vasconcelos.

Bartolomeu Cid dos Santos (1931-2008), engraver, painter, is one of the great artists of the 20th century. His world is the crepuscular world of the end of the Portuguese Empire, he who created the first metaphors against the Portuguese Colonialism. And who, with constant vitality, has opposed himself against the New World Order. Knowing, with Eliot, that “the past and the future time are both always present on the present time”

How to represent an artistic intention without reducing it to a description? How to do it preserving the intentionality of the gestus in an ambiguous andsubjective space where the individualism of the artistic perspective is set. “my maladresse…” proposes a viewpoint over Ana Jotta’s universe. An analogous portrait of her relations as an artist is created, setting parallel questions, as hermeneutics possibility and art as a value system. The link relating the trio (artist and director’s deuce) balances between familiarity, master and apprentice, subject and object; the distance and authority of the one behind the camera spreading light around artisticurgencies concerning how Work and Life overlay in this unquiet chase of the greater purpose: a search for consolation in the holy_burlesque of existential functionalism. A documental laboratory of reflexive limits.