Acting
Luis Miguel Cintra, renowned actor, stage director and director of the Portuguese theatre company Teatro da CornucĂłpia, staged the play Illusion in early 2014. This play was based upon texts by Federico GarcĂa Lorca. However, the 119th company's show was no ordinary show, for in the cast there were 59 non-actors, amateurs and theatre students.
A collection of six distinct stories drawn from a rich and extensive body of folklore that narrates Iberian mythology. This epic series weaves a tapestry of myths and tales while tackling fantasy, horror, humor, and drama.
When Edward’s search for his biological family leads him and his girlfriend Ryley to a magnificent villa high in the mountains of Northern Portugal, he is full of excitement at meeting his long-lost mother and twin brother. Finally, he will discover who he is and where he comes from. But nothing is as it seems, and Edward will soon learn that he is linked to them by a monstrous secret.
Emilia is a 17 year old who just finished high school and now works at the local gas station. She has the dream of becoming a professional ballerina, but has never had the courage to leave everything and try. One day she finally gets the chance to audition for the last ballet company still standing in Portugal. She will have to decide whether she should try and risk failing miserably or carry on with her comfortable life, without purpose.
A respectable family falls into crisis when their extensive apple orchard is ruined. Delgado, a wealthy industrialist from the North, has just arrived in the village, apparently with good intentions. Desperate to keep up appearances, the Major and D. LĂşcia introduce him to their innocent and eccentric daughter, Cilinha, who is only interested in her singing lessons. They entice him with the prospect of a rich dowry, but they are unaware that Delgado is not quite who he appears to be...
Idling afternoons, drugs, heartbreaks, psychedelic moods immersed in music. An adrenaline rush. Lisbon as the backdrop for a drifting youth.
Pavese considered Dialogues with Leucò his best work. Eloquent and at the same time sententious and fragile, but implausible among humanized gods, demigods, heroes, and other pagan figures of Greek mythology, who question, through the imaginary of myths, the society of contemporary man. Out of a time and a certain space, and thus, and like all myths, always current.
In a terrifying Portuguese village, there is a legend - the legend of the wolf child. Desired and born on a full moon night, it all started when a young peasant girl, desperate for a child, asked a creature of the forest for a wish. The desire? A child she could call hers. But the forest creature curses the woman. When fully grown, the child will bring teeth and blood to the village. Years pass, the child becomes a man, tormented and persecuted by the villagers, torn between his animalistic nature and a friendship with a young witch. The boy has to discover who, or what, he is. Together, the wolf child and the witch will try to break the curse and find their place in the world. 16 years after "Coisa Ruim", Frederico Serra returns to the legends and traditions of deep Portugal.
A rift with the Catholic Church forces a nun to return to an idea of family where the chasm between dogma and faith will lead to an irreversible decision.
A romance comedy about a nonconformist couple of young parents who, looking for a solution to their fragile financial situation, is involved in an innocent and crazy scheme.
The mother is dying, the relationship hangs by a string, the new job is at risk. Marco's only chance to avoid the tragedy is to find three unicorns before the day's end.
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Certain moments seem to stretch time differently, lingering in our minds longer than others do. They can be a positive memory, of a peaceful afternoon on the beach, or a negative one, like the helplessness that comes with a moment of uncertainty. In a house with vestiges of someone moving (leaving or arriving?), two women attempt a dialog filled with absences, trying to decipher the past and the future. Enigmatic, somewhere between an illusion and a daydream, time here seems suspended, lulled by silences and shadows.
Tiago Guedes returns to Dennis Kelly, the British playwright with whom he has already enjoyed success in his dizzying descent into the depths of human complexity. After Ă“rfĂŁos, the director and stage director now tackles The Ritual Slaughter of Gorge Mastromas, a 2013 text about the banality of evil in the person of the man that Kelly's play scrutinizes in retrospect: "Existence is not what you thought it was until now. It is not honest, it is not kind, it is not fair. Most of the world has no idea about this; they believe in God, or Daddy, or Marx, or the invisible hand of the market, or honesty, or kindness. They go through life with their eyes closed, getting beaten up and screwed over. He's like that. You're like that. But a tiny part of us, let's call ourselves the resistance, knows the true nature of life. The world is ours for the taking. We are powerful and rich and have everything, because we will do whatever it takes.
