Rita Palma

Documentary about the old people living in the highest floors of old buildings with no lifts, in Lisbon.

"The Lurking Fear" interviews Portuguese citizens whose lives where hit by the torture of its fascist political police.

Emilia is a writer, living in Lisbon in the year 1959. She is the “Damsel Warrior”, a fictional woman composed from the literary universes of Maria Judite de Carvalho and Irene Lisboa, writers of the city and the characters that inhabit it.

50 years after its beginning, it's still a delicate and hermetic subject today, based on an exclusively male speech, as if veterans were war's only owners and victims. When a country is at war though, is there anybody left out? Warriors is a generation's war movie, told by those who were left behind to wait, those who chose to be there and those who ran to rescue the soldiers from the battle's front lines. A female insight on war.

Nuno Bragança. Author of three novels: "A Noite e o Riso" (The Night and Laughter), "Directa" and "Square Tolstoi." A collection of short stories: "Estação" (Station). And a posthumous novella: "Do Fim do Mundo" (From the End of the World). Screenwriter of "Os Verdes Anos" (The Green Years), the inaugural film of Cinema Novo Português, and co-director, with Gérard Castello-Lopes and Fernando Lopes, of the film "Nacionalidade: Português" (Nationality: Portuguese). A Catholic from a conservative family, he was a member of MAR (Movimento de Acção Revolucionária). He joined the Revolutionary Brigades of Carlos Antunes and Isabel do Carmo while working at Portugal's permanent representation to the OECD. On February 7, 1985, he died at the age of 55 in a hotel room in Lisbon. Nuno Bragança, who was he?

A film that scrutinizes the idea of “soft racism” and how it comes to drink from the exalted Portuguese colonialism. The titular Rosinha is a Guinean native who became the symbol of the first Portuguese colonial exhibition presented by the Estado Novo in 1934. A trip to the past to better understand the present.

Between 1947 and 1949, the writer Maria Lamas traveled the country to publicize the reality in which Portuguese women lived. The result of this tour was the book "As Mulheres do Meu País". More than 70 years later, director Marta Pessoa and writer Susana Moreira Marques seek to understand what this book is and what it can tell us today.

We stare at mirrors as if 'image' was a weapon of self-defense. At night, I hide in actors' dressing rooms for a working class experience. By day, I face an old theatre being razed to the ground, making way for a parking lot. Graffitis have curtains, the nose cap of an umbrella arises from a mount of sand. Oh, Happy Days! No need to stage anything! The bulldozer is a dinosaur whose teeth and gracious neck swings by a EU flag. In the boxes, we await the audience. Sometimes, nobody comes. Lost in a symbolic show of reality, I can only watch the world's end because all the endangered species perform and a reflecting labyrinth of life stories breaks through the glass of the Economic Eating Machine. Even when the sky is falling, theatre will always happen. So, choose the right place.

A documentary that records the lives of a group of former (and some still active) Portuguese transvestites. They are: Zizi Mayer, Fanny Star, Guida Scarllaty, Deborah Krystal and Wanda Morelli. They are João Callati, Fernando Paulo, Carlos Ferreira, Fernando Santos and Fernando Soares. All these artists deserve to have their lives told because they are bigger than anything they give on stage. They are important symbols of Portuguese cultural memory and their lives and careers illustrate different moments and mentalities in our country. They are lives that have endured hardships and overcome them in forbidding times and where persecution and punishment reigned supreme. No documentary has ever been made about their lives and it is urgent that these stories are not lost. They also tell the story of our political and cultural country.

In early 1985, the writer Nuno Bragança hands his friend Carlos Antunes a 13 question’s questionnaire; 13 sheets of graph paper, of which he offered the recto-verso of each for his friend to answer. The questions were about Carlos Antunes’ personal and political career, with a special interest in his involvement in the Revolutionary Brigades and the armed struggle against the dictatorship that led to his arrest in 1978. The untimely death of the writer, in the same year, left the questionnaire unanswered and some uncertainty as to its purpose. After almost 30 years, the director asks Carlos Antunes to answer the 13 questions and to reconstruct the achievements, illusions and sorrows of the Revolutionary Brigades in Portugal, in the years surrounding the Carnations’ Revolution in 1974.