Tiago Cravidão

An intimate drama about an aging war veteran forced into a retirement home, where he confronts the ghosts of his past and forms an unexpected bond with his Black caregiver.

This is the look that the film about Eduardo Gageiro takes. A film that departs from the stories of two images and that moves on crossing them with the ones that come out of the construction of his latest book. A film that shows how the deep Portuguese look of this photographer has seen the transformations of his country and of the world in the last 60 years. A look that has imagined what the photographer has seen and shot: the kiss of Maria to Salazar’s dead body in 1970, the kidnapping of the Israeli during the 1972 Olympic Games, the turning-point in the 74 revolution and the seductive revelations of the portraits from 1995.

Perhaps the first documentary about Centro Hospitalar e Universitário de Coimbra. A film about this hospital, about this art object: a sum of techniques and gestures that, as the Xerazade narratives, or the Antonius Block chess, try, in an endless movement of opening and closing doors, to outwit the arrow of time.

An intimate drama about an aging war veteran forced into a retirement home, where he confronts the ghosts of his past and forms an unexpected bond with his Black caregiver.

This is the look that the film about Eduardo Gageiro takes. A film that departs from the stories of two images and that moves on crossing them with the ones that come out of the construction of his latest book. A film that shows how the deep Portuguese look of this photographer has seen the transformations of his country and of the world in the last 60 years. A look that has imagined what the photographer has seen and shot: the kiss of Maria to Salazar’s dead body in 1970, the kidnapping of the Israeli during the 1972 Olympic Games, the turning-point in the 74 revolution and the seductive revelations of the portraits from 1995.

This is the look that the film about Eduardo Gageiro takes. A film that departs from the stories of two images and that moves on crossing them with the ones that come out of the construction of his latest book. A film that shows how the deep Portuguese look of this photographer has seen the transformations of his country and of the world in the last 60 years. A look that has imagined what the photographer has seen and shot: the kiss of Maria to Salazar’s dead body in 1970, the kidnapping of the Israeli during the 1972 Olympic Games, the turning-point in the 74 revolution and the seductive revelations of the portraits from 1995.

This is the look that the film about Eduardo Gageiro takes. A film that departs from the stories of two images and that moves on crossing them with the ones that come out of the construction of his latest book. A film that shows how the deep Portuguese look of this photographer has seen the transformations of his country and of the world in the last 60 years. A look that has imagined what the photographer has seen and shot: the kiss of Maria to Salazar’s dead body in 1970, the kidnapping of the Israeli during the 1972 Olympic Games, the turning-point in the 74 revolution and the seductive revelations of the portraits from 1995.

Perhaps the first documentary about Centro Hospitalar e Universitário de Coimbra. A film about this hospital, about this art object: a sum of techniques and gestures that, as the Xerazade narratives, or the Antonius Block chess, try, in an endless movement of opening and closing doors, to outwit the arrow of time.