The Life of Mirrors

On a farm in rural Brazil in the 18th century, a new overseer arrives. He falls in love with one of the enslaved women, Mestiça, beloved by all the men. When a pair of silver earrings disappears from the farm and the overseer orders the leader of the enslaved women arrested, Mestiça decides to take revenge.

Carolina, an aging local grande dame who works at a crossing point on the titular river, marries another late-in-life character, the dredging-boat operator Antonio. Not long after their union, she becomes intensely jealous of Antonio's fondness for their winsome goddaughter, Joana, and insinuates herself into a relationship brewing between Joana and a mystical gypsy gold salesman. Soon, tempers are flaring, mystical secrets are being revealed and death is hovering over the central characters.

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

With the sea and urban Algarve as the backdrop, we follow a complete life cycle of a special shellfish called percebes, the goose barnacle.

Set in the Lisbon during the festivities of Saint Anthony, the patron saint of lovers and the old town. The story is about Cato, a nationalist politician who is charismatic and unscrupulous. He obsessively pursues Silvia, a mystical and mysterious young transvestite whom he meets at the festival. When Silvia runs into Vicente, a policeman who arrests transvestites and threatens them, Silvia must look towards blackmail to save herself. Compromising photos of Cato start to emerge among opposition parties and he must do all in his power to save his political career.

1920s. Vitalino, a small farmer from São Vicente sees his father die of the epidemic which decimated the country. Some years later, of all the brothers, Vitalino is the strongest and takes his father’s place in the house. But the village is too small for his aspirations and he decides to head to Brazil, leaving his sisters in charge of the household. In parallel with Vitalino’s story, If I Were a Thief… I’d Steal portrays the world of Paulo Rocha rummaging through his films and ghosts over the years.

Vanitas is the new feature film by veteran Portuguese director Paulo Rocha. With a script by Regina Guimarães, the film brings together actresses Isabel Ruth and Joana Bárcia – no strangers to this director's world – in a story about a depressed fashion designer who falls in love with the daughter of one her tailors.

Thirty-something Vítor still lives with his mother, Fátima, in his grandmother Júlia’s apartment. Fátima is a hairdresser with a quiet disposition who, at night, fantasises about the policeman who has just moved in next door. By day, Vítor is a lowly employee on a TV show. But at night, he dons his neighbour’s uniform to win the favour and satisfy the desires of a boy he’s met online. In her retirement home, Júlia is unable to sleep at night and has long forgotten what drugs she is meant to be taking. She misses her dead husband, who manifests himself in the body of a living friend, and gets involved in her daily activities. Through these characters, Diogo Costa Amarante constructs a fascinating portrait of lives lived while desires remain unrealised.

Maria and Matías feel life is slipping through their fingers, and turn to birds, real and imagined, in a search for meaning and connection.

C and B are twin cats who live in a rundown harbour town, inhabited by downtrodden birds who, under the yoke of an oppressive and silencing power, have lost the ability to sing or fly. C is a restless dreamer and B is a pragmatic thinker, but both are determined to change their destiny and save the town. Dom Fradique unravels the adventures of these twin cats who, although choosing distinct paths, embody the transformation of both the place they inhabit as well as their own selves, echoing present day themes that unsettle younger generations and the challenges they face, on a social, ecological and political level. What they discover will change them, their lives, and their town forever.

Everything came up with this defiant idea: what if a director followed the first person to come through the door of his house? Luís Vieira Campos did this and found Geni, a strong woman who dreamt of opening her own store at Centro Comercial de Cedofeita, a mythical place of Porto. Between advances and retreats, between the increasing opening of the director and his character, the film reveals the unique portrait of a woman, a neighbourhood - Cedofeita - and the improbable relationships we establish when we least expect it. Luís Vieira Campos proves, with Geni, that cinema is also the "neighbourhood" and its people.

Twenty years ago, believing she was doomed, Irma took a trip to Greece. Today, she retraces that journey, accompanied by three young men. From island to island, between sky and sea, the travelers read, listen and live, carried by a longing for beauty and clarity.

From Jacques Prévert's poem “Petit déjeuner du matin”, Mau Dia experiences a dilation of the time in which the banality hides the lived drama. All elements are decomposed and then rebuilt - painted walls, orchestrated rain, spoiled actions, depicted or sung…

In an empty theatre, a woman is watching an American film - "Ma's Sin" - which tells the weird revenge story of a middle-aged wife, driven mad by jealousy and a deep feer of dying. During the screening, the viewer's fantasies embodied in male characters harass her. Thus she will live the double adventure of the projected motion picture and of her own mental film. But as the lights turn on, she leaves the theatre, apparently unaffected.

Porto 2001 project, made in the prison of Paços de Ferreira. Nuno Cardoso, the play director, develops this work with the prisoners during the time period of one year. Documentation of the process: conversations with the prisoners in the context of the process of artistic creation and the theater project. Interviews and testimonials with various people who cross their experiences, their view of life and their life behind bars, with the development of the play.

An act of passion, filmed in a church turned into a bar, on Easter 2003, and starring as many actors as the days of the year… Taking the sacred painting as a reference, the film questions the human condition: letting oneself die like Christ or betray scientifically like Peter?