Directing
Mesmerized by the songs of Peroguarda villagers in southern Portugal’s Alentejo region, young Portuguese modern poet Antonio Reis, Corsican researcher of Portuguese folk music Michel Giacometti, and film director Paulo Rocha visited the village one after another in the late 1950s. This work refreshes the soul and flows with songs and poetry seeped in sadness, as well as the atmosphere of the quiet sea and village, fields adorned with vibrant red flowers, and roads traveled by Reis and the others, while interspersing images from Paulo Rocha’s films.
The film intends to substantiate into images and sounds the feeling of an underground analogy, no doubt partly subjective, based on Portuguese and Turkish topography and culture, while also calling upon the silent continuity of Muslim culture within Portuguese culture. By triggering encounters between members of the two cultures, one reveals what weaves the bonds between two universes so seemingly distant from one another, aside from historical facts.
Traveling by the experience and by the roots of one of the strongest manifestations of Portuguese popular culture – singing polyphonic Alentejo. Evoking Michel Giacometti, the film questions the origins of the “sing” in the context of Mediterranean culture.
When children are born, they cry. No, they are screaming. For what ? Would birth be as scary and terrifying for the child as giving birth was for the mother? This film answers. He says: yes, coming into the world is a torture, a terror for the child. But this film also says what must be done to transform this "arrival" so that a great shadow no longer comes to darken all the life that follows.
The original family is expelled from Eden and forced to face the hardships of existence. However, each of its members sees the world differently. Tensions, jealousy, and feelings of guilt lead Adam, Eve, and Cain to gang up against Abel, forcing him to make the first sacrifice.
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The stories of Nasreddin carry out a reversal of 'point of view' which shatter our established way of seeing things, people, the world and their relationships.
A 20-year veteran of the Angolan civil war returns to the capital city of Luanda where he faces the challenges of assimilation and survival.
Père Lachaise cemetery reflects the socio-economic hierarchy of French society during the second half of the 19th century. The film pays homage to the Communards who were shot and whose simple commemorative gravestone contrasts with the insolence of the monuments of the great bourgeois families.
Ivo and Tomás, two volunteered vagabonds who feed their souls of ways and great winds. From time to time they make a stop, renting their arms, the necessary time to be able to, provisions made, get on the road again. Once, with the sun at its peak and a burning heat, the desert that they are crossing seems to be endless. They run out of water… in the end of the day, without any strength left, they let themselves fall near to a dried bush. Ivo stares at the moon rising, as is saying farewell and whispering verses of a poem of a lawyer they’ve met before. It is then that he sees a far light. They set their way to that house…
