Water and Salt

Vera is a singer in her thirties; she is back in Lisbon for the final performance of her concert tour. The heat and beauty of Lisbon makes one want to be happy. Pablo, the companion she selected from among the many who answered her questionnaire, helps her through the sleepless nights. He has no family, but wishes he had. Vera concerns herself with the mysteries surrounding Pablo's life. Vera is not afraid of the night; she is not afraid of anything.

Three homeless teenage rejects struggle to survive together. Of them, Andreia is pregnant, while Pedro and Ricardo hustle, steal and are exploited by a pornographer.

Laura Rossellini, a widow from Rome, vacations on the Algarve coast one hot summer. One day while sunbathing, she finds a wounded man named Robert drifting in the surf on a rubber raft. She takes him home, and, after he is revived, learns his story. As they talk, their mutual attraction grows, until a group of armed men suddenly arrive looking for Robert.

Maria is a sweet child. She hasn’t father and doesn’t like her mother. She has a boyfriend, A bandit who would like to change his class.

The story of a child who faces the emptiness that surrounds the figure of his parents, disappeared in Africa.

Struggling against the crisis in Portugal, a mother doubles up jobs to pay the bills since her husband is unemployed. Their teenage daughter tries to keep living everyday life even if the money is running short, which makes everything uneasy. Escaping from their common reality, they slowly become strangers to one another, as the tension grows in silence and in guilt.

The city during the beginning of cinema. The typical city at the time of the dictatorship. The New Lisbon of the New Cinema. Lisbon after the Revolution. The white city of foreigners. A geographical and moviegoer screenplay of Lisbon through the images of films and testimonies of several filmmakers who filmed in Lisbon.

Thirteen European directors explore the theme of Sarajevo; what this city has represented in European history over the past hundred years, and what Sarajevo stands for today in Europe. These eminent filmmakers of different generations and origins offer exceptional singular styles and visions.

This dark and intense drama follows the slow and painful destruction of a young, passive woman as she watches her family fall apart. Maria is the shy and dutiful daughter upon whose shoulders the family traumas have fallen. In addition to a regular job she cooks, cleans, and studies. Her parents offer no assistance as her father is blind, with a tendency towards violence when drinking. His wife, the focus of his violence is terribly unhappy. After a particularly brutal beating, Maria's brothers rise up against the father and end up leaving the home. It is up to Maria to try to bring the factions together. Maria's pressures increase after she calmly stabs her boss during an attempted rape, and then copes with her mother's suicide.

Sonia, a girl from St. Petersburg, decides to seek a better life in Western Europe. She first gets a job at a car dealer in Germany. But she is suddenly kidnapped and sold into sexual slavery. She will be dragged from country to country and resistance will only bring her misery and humiliation.

The darkness of night, a barely lit place, motorbikes flirting with danger: a group of teenagers at a crossroads playing chicken with unaware passing cars. Jota (Eduardo Frazão) stands out from this group, unclassifiable; his destiny has no straight lines save those on the asphalt. Jota lives in permanent conflict with everything and everybody in his small town. No room for stillness. And then comes Margarida (Ana Moreira). Jota has no inside, Margarida has no outside. In spite of, or because of, that, they meet. What can they do? They can just ride, they can get away with it even if its all messed up. Love is to be lived.

Twenty-five films from twenty-five European countries by twenty-five European directors.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

A whole summer long, Portuguese filmmaker Teresa Villaverde stayed with Italian cult director Tonino De Bernardi, who was working on projects including a film version of Sophocles’ Electra starring only local villagers. She sits at the table with the family in their garden, on the back seat of the car on the way home in the evening or listens to the stories told by the woman De Bernardi buys cheese and eggs from.

In 2017, in Portugal, devastating wildfires destroyed forests and killed children and adults; some died in their villages, others were trapped on a road. Communication failed, and the villages had no shelters. The film’s action does not take place in 2017, but at a later time. It follows a small group of people who lost their dearest ones and are now in the process of learning how to live after everything they have lost.