Discoveries from Portugal World Cinema

An old poet is uncomfortable with a boy who sits next to him

Person makes rituals and a council is given while Rio's body and territorial invasion acts as a register of their day-to-day procedures and rituals.

In a monologue, a man explains his thoughts on the exploitation of Brazil's native people's resources.

A teenager seeks a religious psychologist to cure his homosexuality. Both reach the ultimate consequences to achieve the goal.

Based on Cristina's father's Super 8mm films and her diaries, the film contrasts the lightness and joy of family celebrations with the weight and sadness that the same child expresses privately and secretly in her diary. The chronological gap between the two records—the images of her early years and the writing from the end of her childhood—reinforces Cristina's feeling of helplessness, subject to a hostile family environment. This work aims to give voice to this child and validate her feelings and thoughts, finally recognizing her reality.

José Bento saw folklore creatures in the woods as a child. As an adult, he becomes a writer, but when he realizes that no one, other than children, believes his stories, he becomes a writer of children's literature.

In Brazil, even hell is a mess! Everything you ever wanted to know about hellish bureaucracy and corporate demonic meetings.

100 years after Ho Chi Minh's passage through Rio de Janeiro, Jairo thinks about boarding a ship bound for Vietnam.

Not Over Yet is a cinematic crossing between Brazil and Greece. Starting from the curiosity for her name with Greek origins, the director takes us on a journey where personal memories mingle with politics and history. Shot on film, this surprising first film combines free narration with an intimate and touching style. - Rebecca De Pas

Fátima is a working mother, who lives a troubled moment with her children Leandro and Leonardo. After an argument, Leonardo dies as a victim of a stray bullet, turning Fatima's life upside down.

An addition to As Armas e o Povo (1975), filmed at the Lisbon Cinemateca in 2019.

Lélia was a pioneer in publicly denouncing the situation of black women in Brazilian society. In the 1980s, with the publication of an article in the book O lugar da mulher, she proposed a reinterpretation of the figure of the Black Mother. With new perspectives of analysis, she sought in her performance to reinterpret and reconstruct the history of Brazil from the perspective of black women. In the feminist movement, her contribution was the introduction of the racial issue in their political agendas. Until then, the specificities of black women were not considered. However, her important trajectory is unknown to a large portion of the Brazilian population. Since her death in 1994, scholars and activists have been fighting to rescue her memory and organize her thoughts.

Short film released through the Gestos & Fragmentos platform during the COVID-19 quarantine.

In the Brazilian backlands, the Ferreira family were murdered by a foreman ordered by a local farmer. 15 years later, an outsider arrives in the same city. Her name: Irma. In revenge, she runs through the city trying to recognize the space and its antagonists.

Julia is an introspective teenager who feels uncomfortable with her mother's religiosity, Marta, who, although very committed to her faith, places all her trust in Bishop César, religious leader the local church. Julia enters a moral dilemma when she finds herself in love with Barbara, a new member of her church, and all social conflicts surface with the questions that arise in her life.