Advanced search
- TITLES
- NAMES
- COLLABORATIONS
1-50 of 62
- The tragedy and comedy in Carlo's life begins, grows and ends like the tragedy and comedy of Portugal. In the company of his close friend, João da Ega, allegedly a brilliant writer, Carlos, with his idle existence as an aristocratic doctor, spends his time to enjoying friends and lovers. Until he falls in love. She is a new character in this revolutionary novel. It's a vertiginous passion that goes beyond that past gloominess to reach a new and darker abyss, incest.
- 50 years after "April Revolution", 1974. Women, to Arms.! A narrative inspired by female figures who challenged social conventions in the early 70s, in Portugal. Friendship is the link that unites them on this journey through adversity during the colonial war. It's about the fight for freedom and human rights. Follows four women who work in a textile factory, where they end up developing a friendship. At first glance, they are all completely different from each other. Adília (Sílvia Chiola) is an energetic, almost illiterate young woman who decides to stay in Portugal when her boyfriend challenges her to run away, at a time of increasing tension. Deolinda (Madalena Almeida), in turn, believes that education is the path to social evolution and wants to go further. Lurdes (Sara Carinhas) is a politically active and unionized woman who encourages her colleagues to fight for their rights and demand equal pay. Like others, she is against the foreign war, a conflict that is very present in the story. Isabel (Victoria Guerra) is a former high society woman who finds herself "amputated" after her husband's death in the war and by the Estado Novo dictatorship. She can't write a check, doesn't have access to a bank account, and is forced to return to the workforce. In the factory, the four women vent, laugh, cry and together they star in a portrait of Portugal in the early 70s. They are inspired by hundreds of stories of anonymous women that have never been told. Women played a leading role in bringing about the end of the conflict and, ultimately, the fall of the "Estado Novo".
- Between February and July 1858, in the grotto of Massabielle, the Virgin Mary appeared 18 times to Bernadette Soubirous, a poor little girl from Lourdes. A true Marian "revolution" which, in the heart of the Second Empire, shook up the established order with its universal message of love and prayer.
- Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club. Though mostly similar in appearance, the heteronyms differ hugely in personality above all, the gleefully unhinged Álvaro de Campos, enacted by Albano Jerónimo. These clashes start to become indistinguishable from dramatic rifts in Pessoa's psyche: as he is increasingly beset by philosophical turmoil, his heteronyms are murdered, one by one. Meanwhile, Victoria Guerra plays a double role as Pessoa's Madonna-mistress Ophélia: at once a saintly psychiatric nurse and duplicitous femme fatale.
- What do you do with the desire that is just awakening? At dance performances, in concerts, during sports, while skating, eyes are searching and bodies are exposed. Each space possesses its own choreography, its own music. Almost without words desire and rejection, hope and disappointment become tangible.
