Alexandra Petrovskaya

On a rainy night André travels from Lisboa to visit Nádia in Sintra. He doesn't know that her husband just arrived from Paris and he will have to wait a long time in the rain before he can get inside the house and actually see her. Meanwhile he is tormented by his own mind, that can't stop imagining.

We follow the catechesis sessions of the 4th grade children from the Parish of Santo António de Moscavide. They reflect and learn about the Catholic religion. Some of them, however, are also preparing for an important moment: the First Communion. We observe their preparations for this celebration, and try to understand their perspective and that of their classmates regarding this new stage of their religious lives.

A man is detailed for a secret mission in the countryside. After beginning to understand what it really is about, he progressively descends into madness.

A look at the gatherings, film presentations, Q&A's and other activities that take place during a film festival in Lisbon.

Cinema is here presented as a kind of dance without music, and its performers are also the creators of the spectacle. How to deal with organisation and bureaucracy, many times oppressive, some dispersive? And what is the gaze after all?

We follow the catechesis sessions of the 4th grade children from the Parish of Santo António de Moscavide. They reflect and learn about the Catholic religion. Some of them, however, are also preparing for an important moment: the First Communion. We observe their preparations for this celebration, and try to understand their perspective and that of their classmates regarding this new stage of their religious lives.

A look at the gatherings, film presentations, Q&A's and other activities that take place during a film festival in Lisbon.

Cinema is here presented as a kind of dance without music, and its performers are also the creators of the spectacle. How to deal with organisation and bureaucracy, many times oppressive, some dispersive? And what is the gaze after all?

Cinema is here presented as a kind of dance without music, and its performers are also the creators of the spectacle. How to deal with organisation and bureaucracy, many times oppressive, some dispersive? And what is the gaze after all?