Nuno Leonel

Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.

Joaquim Pinto has been living with HIV and VHC for almost twenty years. “What now? Remind Me” is the notebook of a year of clinical studies with toxic, mind altering drugs as yet unapproved. An open and eclectic reflection on time and memory, on epidemics and globalization, on survival beyond all expectations, on dissent and absolute love. In a to-and-fro between present and past memories, the film is also a tribute to friends departed and those who remain.

Once upon a time, the last days of 2028. This world’s disarray, no more no less than ever. Accommodate, adapt, evolve. The inability to live. The endless survival. Angela, a retired history teacher, has long lived in voluntary isolation, locked in an apartment in Lisbon. All her life, she refused conventions. Today, on Christmas Eve, she is faced with a “trivial” decision. Hospitality.

Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

Lúcia is an independent woman who lives alone in Lisbon. Her father commits suicide leaving her a message on phone recorder, revealing a letter he wrote. However Lúcia can't find it in her father's house. On that visit she ends up meeting with her mother, a known political activist with whom she has a distant and tense relationship. In hope of finding the letter, Lúcia leaves to the farm where she grew up, on an isolated location. There she reencounters Álvaro, an old childhood companion, who shares a little life time he has left between roses and the piano, and the guardian angel that follows and protects her through nocturnal wanderings.

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.

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

The earth, life and death, indifference and affection, abandonment, faith. Words and silence, light and shadow, the endless survival, the inability to love. A trilogy set in 2017, 2028, 2037. Three women of different generations and backgrounds cross paths; their tentative steps to fully exist evoke fragments of stories, bringing real life experiences and events into each character.

Adaptation of the poem by Fernando Pessoa.

A trans* cook making a typical Brazilian plate, feijoada à brasileira.

A portrait of a group of teens from a Rio de Janeiro slum learning to surf.

This contemplative piece, an exploration of time’s passage and the permanence of nature, sets Beethoven’s “Sonata em sol menor” against images of farmers tilling the soil and flowers carried along by a brook. - FilmLinc

A visualization of Alberto Caeiro's (Fernando Pessoa's) poem 'O Guardor de Rebanhos' (The keeper of Herds AKA the keeper of Flocks).

A film essay on origin, life, religion, decay and more.

It’s been a year since we were together. A year since you left me, or I left you. What does it matter? And suddenly here you are in front of me, smiling, radiant, pregnant. And there’s me, who thought he was cured of you.

Decisive shifts in the oceans have caused significant problems in the eponymous village in the Azorean archipelago, where fishing has long been a tradition and an essential livelihood. Pedro is a young man confronted with the problem of how to carry on despite this crisis (and the inherent dangers of working at sea). Pinto and Leonel follow Pedro over the full, yearlong cycle of seasons, capturing the rhythms of life and work in a changing community. - FilmLinc

The artist Yvonne Bezerra de Mello, who, on her return to Brazil after several years living in Europe, was confronted with the situation of violence against children, was a central figure in denouncing the massacre of minors in the Candelaria Church (1993). This is a lucid and raw interview interspersed with street footage, living with the reality of abandoned children in the suburbs of Rio de Janeiro.

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