Fundação Calouste Gulbenkian

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.

It's September in Lisbon… Elsa’s young daughter leaves with her father, and Teresa, a friend’s friend, comes to stay in her room. One night the two women go out and meet Raul, a vagrant lover of Elsa. A triangle takes form. They finish the night on a boat by the name of Pandora, but in the morning Raul sails away, alone. Elsa and Teresa will start a new life...

A man exiled in Paris makes various trips to Portugal after the Carnation Revolution. Each trip is represented by a woman.

The tribulations of two friends who, in despair, start begging from door-to-door, and are given a bundle including, literally, a pair of deadman's shoes.

A story about doomed love between two people from different worlds and the impact in their lives.

A man goes on a journey for a slice of apple pie.

A woman translates the front page of H.P. Lovecraft's book “The Silver Key”. Her husband, a journalist, listens. The book describes the conflicts between the real and the imaginary, and tells how Randolph Carter, the film's character, leaves everyday life in search of his childhood dreams.

Film about Calouste Gulbenkian, produced for the celebrations of the 50th anniversary of the Calouste Gulbenkian Foundation.

THE GOSPEL ACCORDING TO JOHN read by Luis Miguel Cintra, one of the most prominent Portuguese actors. A glimpse at a personal experience of Jesus, filmed outdoors, from dawn to sunset, and materialized in the grain of the voice, the expression, control, rhythm and breath of the actor himself.

Maduro, D. Lourenço manages to take away Joao Bolandas, to be with the woman, Florinda, his old love, that returns that feeling to him. Simão discovers the mother's connection with D. Lourenço and, from then on, only one desire guides him: to kill Florinda's lover.

A borderland village of Trás-os-Montes, 27 km away from Bragança, Rio de Onor preserved - due to its isolated location - the old communitarian practices, of farmers and shepherds, that define it as an important and unmistakable center of this region.

No matter how calm the surface of the ocean appears to be, each time we cross the line that divides land and water we enter an unknown and unexpected world. Does our world remain the same when we come back on shore?

Maria Gouveia is a character with a secret past, which she intends to hide at all costs. In her eagerness to hide that past, she commits a homicide, witnessed by a man whose existence she is unaware of. That man is the lawyer Óscar Summavielle, who manages to become her defense lawyer and, constructing an alibi for her, proves in court that she is innocent, although he knows she is guilty. Marta and Óscar are led into a game of passion that will take them beyond all conventions...

The plan of issues, since 1962, an alive and continuous legacy of Calouste Gulbenkian Foundation

Have you ever had a crush on the man frisking you at the airport? What would you do to get strip searched in that back room without being sent to jail? Frequent Traveler brilliantly and silently explores the answer to this question.

A picture of daily life punctuated by silence. In a village in the north, the daily routine of three families. Glimpses of Isabel, her eyes turned towards the future; for the others, living is the only meaning of life. The camera freezes moments of life through the movement of things in time, values and silence.

How to represent an artistic intention without reducing it to a description? How to do it preserving the intentionality of the gestus in an ambiguous andsubjective space where the individualism of the artistic perspective is set. “my maladresse…” proposes a viewpoint over Ana Jotta’s universe. An analogous portrait of her relations as an artist is created, setting parallel questions, as hermeneutics possibility and art as a value system. The link relating the trio (artist and director’s deuce) balances between familiarity, master and apprentice, subject and object; the distance and authority of the one behind the camera spreading light around artisticurgencies concerning how Work and Life overlay in this unquiet chase of the greater purpose: a search for consolation in the holy_burlesque of existential functionalism. A documental laboratory of reflexive limits.

A November day in Porto, in a square where skaters jump up a flight of stairs. Three characters share a moment, which is divided into three subjective shots and which, without dialogue, are intended to characterize them emotionally. The idea of shared love is called into question.

The gallery attendant in an art gallery or museum is a fundamental piece in its mise-en-scéne, his main role is to see and be seen. Seems So Long Ago, Nancy implies the spectator in an infinite gesture of circular observation — to observe the observers. A passive lens that fluctuates between the subjects and the neo-classical and post-modern architectural spaces they occupy, in a balance between silence, introspection, noise, repetition, intervals and waiting — small gestures of a fragmented post-modern flaneur.