Ana Rita Barata

Every year, in the province with the highest rate of desertification in Portugal, thirteen villages of the border rejuvenate a bullfight with unique characteristics: the Capeia Arraiana. The butlers prepare they party and contribute to the ethnographic heritage, starting a ritual of emancipation where we can see confrontations with the force of the bull. Several men wear a rudimentary object made of wood, and fight the bulls that are brought in, often from Spain. The villages compete against each other in search of the Best Capeia of the Year.

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No description available.

Fallen to an aquatic world, they move ineffably in a dense, clear atmosphere as if it was their first autonomous moment.

Poti Pati is a film based on a monologue that a character has with himself—or with his double—the text challenges the characters, brings them closer together, punctuating it with body movement. The materiality of time is sought in the details of space and in the imaginary functioning of obsolete machines. Poti Pati expresses, in the polysemy of the monologue and in the migration of images between the observer and the observed, a challenge to the viewer-observer whose cinematic references are summoned.

In this film there is a crescent count until the demystification of a bridge that connects and separates one country from another. Portugal and Spain, distant by fragments of their memories, images, objects, voices and ruins. Time runs out... An anxiety floats above the border and also a strength of believing that it is possible to change some things until the very last minute of our cross-over. In a world of contradictions, inequalities remain, existing surprising stories in almost forgotten lands. We are standing before a jigsaw puzzle organized into a map of ideas and memories.