Lisa Persson

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.

At 19, Antonio fled his Portuguese farm family for life on the other side of the globe. Five decades later, his decision still leaves an irrevocably sour taste.

Otavio and Gilda are a very wealthy couple of the Brazilian elite who have the habit of eating their employees. Otavio owns a private security company and is a notable member of The Cannibal Club. When Gilda accidentally discovers a secret from Borges, a powerful congressman and the Club’s leader, her and her husband’s lives are in grave danger.

Gaston Solnicki plays himself in this cinematic tribute to his friend Hans Hurch.

Rita is fifteen and spends the summer between warm afternoons of teenage love and party nights with her friend Sara. From Portugal to the South Pacific, the pleasures of this routine will take a turn when the young girl visits the art show of a new neighbor in the local community.

This is the story of a young Mozambican footballer called Eusébio, a gifted athlete destined to great achievements, coveted by rival clubs, Sporting and Benfica, which ends up hiring him. Blackmail, kidnapping attempts, ministers involved, press hysteria and huge money offers make the story of this football transfer into a saga evolving between the two continents. It ends up when the legend begins: with Eusébio’s first match at the Benfica Stadium.

Women of the Revolution is a film that celebrates the multitude of revolutionary women: the mothers of our democracy. Through the voice, gaze, silence, and actions of each of these women, we learn about the richness of their experiences, which together give us a legacy of trust, justice, perseverance, respect, and freedom. These are women who defeated fascism, colonialism, and social inequalities in Portugal and the occupied African territories and transformed the world around them.

With no career expectations, a temperamental young woman gave in to a job as a maid in a hotel. Makes the beds, replaces the towels, replaces the soaps. One day she discovers a suitcase left behind by a whimsical French tourist, inside which she finds a lime green canary, a natural yogurt and a five hundred euro envelope.

From our window one can see a set of the film The Green Years, directed by Paulo Rocha in 1963. This was our starting point: guided by Rocha's gaze, we look back at the places of that film. The successive geological, urbanistic and social strata of Lisbon, besieged by the pandemic that interrupted the shooting, are drawn out in front of our camera, like a contemporary jazz impro from a score written in 1963.

Lisbon, Portugal, 1927. The writer and journalist Fernando Pessoa accepts from his boss the commission to create an advertising slogan for the drink Coca-Louca; but conservative government authorities consider the new drink as revolutionary as it is diabolical.

In a small studio we unveil the nature of the creative process of João Gabriel, a young promise of Portuguese contemporary painting. A work marked by the presence of the male figure and the sexuality of pornographic films from the 70's and 80's. Transgressing the boundaries of pleasure and navigating through new experiences of desire, in a joyful rebellion where João Gabriel’s paintings invite us to delve in.

Documentary short about the April’s Captains and the Carnation Revolution from the point of view of the MFA (Armed Forces Movement)- a coalition of Military officers – namely Captains and Majors – who banded together to overthrow the Authoritarian regime that ruled Portugal for over 40 years.

A 2008 short made in accompaniment with Our Beloved Month of August, documenting Gomes's and his crew's hapless search, during 2007's carnival, for one of Arganil's most storied and elusive characters (who does, in fact, ultimately appear as an interviewee/player in the finished film). Paulo "Miller" is known for taking a dangerous jump into the Alva from a bridge each year during carnival, but what this film is about is, in keeping with the free-roving feature, much less the subject himself than Gomes and co.'s inability to pin him down; not only does he not do his famous jump during this year's carnival, but an ostensible technical/audio failure (as with the feature, it's very difficult to say how much of this film is "fact," how much invented) during Gomes's initial on-camera meeting with Paulo "Miller" leads to five minutes of lip-readers attempting to decipher their conversation.