Adaptation of Miguel Torga's iconic short stories. An intimate look at a rural community in the 1940s. Each chapter has its own protagonist, whose existence is untouched by modernity or the outside world. Five portraits of humble lives with enormous resistance to suffering - and a capacity for violence that, at times, proves impossible to repress.

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.

A small town in Portugal becomes engulfed in a web of political intrigue when a young engineer is recruited as a KGB spy in this historical thriller.

In 'Os Fotocines', an intimate portrait of the war is built with those who lived it. This documentary feature film aims to investigate who were those, that in the Portuguese colonial war, lived with the simultaneous responsibility of fighting, defending their own lives and also, of permanently recording that same collective mission, through cameras and shooting, as well as screening.

Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?

An unexpected meeting on Twitter, introduces young actress Luísa to António, a writer and journalist, who hides his identity using Rasputine as his profile name. This virtual relationship becomes the centre of their lives and one day, they finally decide to meet. But, on his way, António has an accident…

Antonio runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.

Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.

Cinema and affections from life in images and what goes on outside the frame. 'Snapshots' of shootings and the present-day memory of directors, actors and technicians.

Lisbon; after another blistering summer, Miguel finds himself in a deep jadedness. An improvised party erupts at his apartment awakening the memory of a passion.

This is the story of a young Mozambican footballer called Eusébio, a gifted athlete destined to great achievements, coveted by rival clubs, Sporting and Benfica, which ends up hiring him. Blackmail, kidnapping attempts, ministers involved, press hysteria and huge money offers make the story of this football transfer into a saga evolving between the two continents. It ends up when the legend begins: with Eusébio’s first match at the Benfica Stadium.

The story of the forbidden romance between Paula, a nun of the Convent of Odivelas, and King D. João V. A love without limits, which takes place in the eighteenth century, and made the King ignore common sense and take the nun as a lover, a confidant, and a counselor. Based on the historical novel by Patrícia Muller.

In love with Trás-os-Montes and with his Guide of Portugal as a source of inspiration, Miguel looks for stories for his new documentary. One day, the appearance of a man riding a donkey changes his future.

In 1971, António Lobo Antunes' life is brutally interrupted when he is drafted into the Portuguese Army to serve as a doctor in one of the worst zones of the Colonial War – the East of Angola. Away from everything dear he writes letters to his wife while he is immersed in an increasingly violent setting. While he moves between several military posts he falls in love for Africa and matures politically. At his side, an entire generation struggles and despairs for the return home. In the uncertainty of war events, only the letters can make him survive.

“An old photograph taken 36 years ago. His hand rests on my shoulder. A blessing, a gift. Then a history of over four decades of friendship, admiration and apprenticeship. A journey into Oliveira’s cinema, his method, his way of filming and his extraordinary cinematic inventions. He lived for over a century, over a century of cinema, cinema in its entirety. For him, and for me too now, documentary and fiction films go hand in hand; it is all about cinema. So I had the audacity to film a magnificent story that Manoel loved but never filmed, one that he left behind as if his hand and eyes were close to God, or among the gods, and he was steering me.” - João Botelho

A boy from Vila do Conde records a love letter on a cassette. His voice blends with music, archive images and stories from the past, some lived and others heard.

João still lives at home with his parents. With absolutely no idea what to do with his life, he leaves the city centre to hang out in the outskirts. The abandoned factory where he spends his days is the lingering echo of a better past. What lies ahead seems worse as João comes face to face with the failure of youth.

Laura and Lucas live temporarily in Berlin and are set to go back to Lisbon together soon. I guess this is how I think about myself too. That I will go back to Lisbon soon. But I often find myself doubting it and becoming a kind of split self. Because now with this crisis and the very controversial austerity IMF program running in Portugal I found most of my friends leaving Lisbon; and family about to mortgage their homes. I wanted to talk about this feeling of separation that I see in my generation, about this state of being in between an apparent solid past and an unknown future, about this identity in transition.

A film that takes place in another movie

Tradition says that on 13 June, Saint Anthony’s Day (the national holiday of Lisbon’s patron), lovers must offer small vases of basil with paper carnations and flags with popular poems as a token of their love.

Six friends meet every evening in a basement to make music. During the daytime, however, there are no rehearsals for what life brings us. Each endeavour leaves its mark. Rita left Ricardo, Rafael found her, but she still feels lost. Eduardo thought he no longer liked Maria, but after what he has done he cannot turn the clock back. João lacks the courage to breakup with his girlfriend and takes refuge in the song he is writing for Inês. Marco struggles to get another young man’s love, but he is under no illusions. Samuel believes in everlasting love but something is wrong because his friends haven’t heard from him for sometime. Inês, attempting to feel safe, likes to experiment and she's waiting to see how things go with João. With all this going on, how could the band not be falling apart...?

Vera is a singer in her thirties; she is back in Lisbon for the final performance of her concert tour. The heat and beauty of Lisbon makes one want to be happy. Pablo, the companion she selected from among the many who answered her questionnaire, helps her through the sleepless nights. He has no family, but wishes he had. Vera concerns herself with the mysteries surrounding Pablo's life. Vera is not afraid of the night; she is not afraid of anything.

Teresa is a soap-opera actress. Meeting again an old passion brings her back apparently lost memories, leading her to question not only her love life but also her career options. In the studio, the daily work is spiced by the frenzy group of younger actors. After all, they all ask the same question: where does happiness lies?