Flyby Kathy

A carousel-esque pocket-movie set in a Florentine piazza.

It’s like soot that rests on the walls of our head. We can’t see it. It belongs there already.

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

Who is Sycorax? The first character in Shakespeare's "Tempest" to set foot on the island. The problem is that she has no voice. She is barely mentioned by Prospero as a crooked, old, wicked witch who vilely locked Ariel, the spirit of the air, in a tree. But why would she do that? Here, we wouldn't believe Prospero so much.

Teresa evokes a memory. A memory as a place of resistance. A memory suspended in space and time. A place one can return to. The fragmented image of an intimate record. The impression of moments forgotten in time but ready to emerge from oblivion—moments that allow us to build a possible history: the history we want to see. – Tânia Dinis

Caught in time, a trio of prehistoric characters lives around a dolmen. One of them, who is hyperactive, tries to stir his mates emotions with inventions and works of art. A strange object made out of bone, which re frames reality, will trigger greed and envy in them. Super 8 allegorical on Portugal, and the collective behavior of its people.

Three men wash ashore in a forgotten cove, where time seems to have stood still. Surrounded by volcanic rocks and tides, they find themselves confined in a place as beautiful as it is inhospitable. As the days go by, a strange presence begins to insinuate itself among them.

A woman wanders through the impermanence of her childhood memories, trying to reconstruct the history of the house where her grandfather lived.

An effervescent painterly film tribute – replete with driving organ soundtrack – to 18th-century poet and satirist António Lobo de Carvalho, otherwise known as The Wolf of Madragoa.

This film combines fictional and documentary treatment and uses photographic archives, real images and the oral testimony of women from the regions of Trás-os-Montes, Beira, Alto and Baixo Minho who, between the 1940s and 1980s, came to Porto to work as domestic servants.

Your past already is the projection of your future. However, it was never more than a light in the sky.

The art of memory is a classic technique that associates images with places through a process of remembrance and meaning. From the memory of places and their context, the documentary delves into the creative process of three contemporary visual artists: Daniel Blaufuks, Pedro Bastos and José Rufino. Despite the different expression approaches of each author, we find points of communication in the way memory operates in their works. By rummaging through the hazards and disorder, we arrive at the director's personal mythology, assuming that memory is a fiction like any film.

A decadent and symbolist Portuguese poet, António Nobre died of tuberculosis at the age of 32 (1900), having published only one book (Só, 1892). A symbolist Brazilian poet, Augusto dos Anjos died of pneumonia at the age of 30 (1914), having published only one book (Eu, 1912).

A writer immerses himself in his work La muerte del payaso and becomes a hostage of impossible dreams. Between crimes and hallucinations, between the gothic nature of night and the decadence of the sand, a hopeless story is told, based on the work of Raul Brandão.