The Nothing Factory

End of adolescence, end of school, the last summer before joining the working world for a group of friends from the neighbourhood of Alcoitão, "BDA".

Sergio travels to Guinea-Bissau to work for an NGO as an environmental engineer on a road project between the desert and the forest. There, he becomes entangled in an intimate yet unbalanced relationship with two inhabitants of the city, Diara and Gui. As neo-colonial dynamics among the expatriate community unravel, this fragile bond becomes his only refuge from an impending collapse into solitude or barbarism.

Through a city that carries the weight of broken expectations and tough absencies, we follow the day of three young adults. César who got into a photoshoot by accident, Chloé who hopes to find a place to do her own work, and Helena who is back in her town for some days, only to find the living shadow of a loss.

A dive, the midday sunlight filtering down through the water. The air in her lungs has to last until she can dislodge the abalone. Dives like these have been carried out in Japan for over 2000 years by the Ama-San.

Karlon, born in Pedreira dos Húngaros (a slum in the outskirts of Lisbon) and a pioneer of Cape Verdean creole rap, runs away from the housing project to which he had been relocated.

Miguel —alias Tibars, alias “Djon África,” born and raised in Portugal— is a kindhearted Rastafarian who loves women and lives a carefree life. Until one day a stranger tells him he's the spitting image of his father, “a player and a crook.” His father, whom he never even knew! This intriguing discovery makes him change tack. Particularly when his grandmother, who always took care of him, finally tells him how his father was in prison; how sad Miguel was as a toddler when he couldn't see him; how his father was banished to Cape Verde. Miguel goes there to visit him. Who is this man?

A portrait of the daily lives of young people living in a new-built estate on the outskirts of Lisbon. School is a joke and there’s no work to be had anyway, so the girls try to have fun as best they can. New-girl Eva is very pretty but quiet. The others aren’t sure at first whether she’s arrogant or just shy. Iara and Eva head off to the beach with two boys. The lads turn a couple of abandoned shopping trolleys into racing chariots for them and the atmosphere begins to tingle. Later, they argue with the rest of the group. The other girls manage to get into a club that night but the boys don’t and must kick their heels outside. They’re bent on revenge. They meet up with Eva and go back to her place.

Coming from every parts of Africa, runs a river of men and women prepared to cross entire continents, pursuing a life that is denied to those that live in the periphery.

A nurse takes care of a patient in her house. Maria do Céu has been a nurse for more than forty years, working at an old Hospital in Lisbon. She was sixteen, when she arrived to Lisbon, coming from a small village in Alentejo. At the Hospital, she reads the file of an old patient who was also her friend. The file is then closed. Maria do Céu returns to her village, where she sings at the people’s house choir.

In 1974, after years of civil war, the Portuguese and their descendants fled the colony of Angola where groups working for independence gradually claim their territory back. A tribal girl discovers love and death when her path crosses that of a young Portuguese soldier. Meanwhile, another group of Portuguese soldiers is barracked inside an infinite wall from which they will have to escape once the past comes out of the grave to claim its long-awaited justice.

Two lovers hit the road for a holiday. They find a car that has been hit, and a dead woman by the accident. Two production assistants try to leave the set, but all the roads seem to hit the same spot, where they find a dead woman that walks.

A director gathers all the pieces he needs to make his film: a set, an actor, a writer, a director of photography, a studio, a script, a director.

While observing others, Paula is also, herself, observed. ' Know the difference between an old maid and a spinster? The old maid does not have a choice. '

In order to reflect upon current practices of political dissent, we delve into the past and follow the experiences of a young artist. Invited to go underground in Portugal, during the second half of the 20th century, Margarida Tengarrinha played an important role in anti-fascist resistance, becoming a forger out of political activism. Given the anachronism, Clandestina is like a letter to a time yet to come, a premonition of the tragic possibility of History repeating itself.

1979. Flicking through pictures from a Soviet magazine, 15-year-old Martim dreams of building a new society. His radical communist parents send him to study at Astrakan for one year. In her new film, Catarina Mourão captures with tremendous precision the moment a middle-aged man passes his story on to his son, thus shedding the taboo of his ineffable experience.

The afternoon Jorge asks Mariana over for a weekend at his house in Leiria, she starts to see him in a whole new light. Unsure of her friend’s intentions, Mariana accepts his unexpected and baffling invitation.