A young flutist arrives in Abu Dhabi on a work trip, invited by a friendly couple. A dancer who lives in Porto is about to go abroad. The flutist and the dancer do not know each other, but their mismatched worlds subtly resonate with each other. While she is a newcomer to a new world, he is leaving. The dancer looks for inhabited images, the flutist seeks uninhabited images. She plays, he dances.
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Documentary and Fiction Films (Selection)
Carlos is a homeless crack and heroin addict. He lives inside an abandoned car exhibitor on the edge of the Douro river in Porto. It is in this little House of Glass that he spends most of his time. When he is not here, his daily life is divided between the neighborhood of Aleixo and the parking lot of a supermarket where he asks for alms to sustain the addiction.
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A typical day around the Cathedral of Porto, between tourists and the local community. There is a peculiar group of women that captures our attention…
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Two figures from the mythological imaginary transported into a mundane existence. He is a newcomer with no origin; she is an enthusiast of the imagistic ingredients of the real. They meet in a new world—metonymic, narrow, reduced to the dimension of these characters. Hostages to archetypal attractors, they fulfill their destinies once again.
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The protagonist realizes that he is a character in this film. Tormented by his existential condition, he will try at all costs to make the film end…
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Dance Film and Experimental
A hybrid project between video-dance and fictional narrative. Based on an interpretation of Né Barros’s choreographic work, metaphorical characters intersect in a story told through gestures, bodies, and spaces. The aim is to tell is the story of life itself, from beginning to end. And the great conflict that permeates this journey is that of an ever-incomplete landing: a landing that will ultimately be nothing more than the arrival at a static state of affairs, at a definitive immobility. It is the eternal conflict between the rapture of passions and the hidden aspiration for serenity, balance, conformity, and death.
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Institutional Films
Workshops with Balleteatro students
A class of sixteen students, a philosophy teacher suspicious of the four passing grades, a stage director with self-esteem issues and his faithful assistant, a sabotaged play about to premiere, a bunch of clocks stuck at five o’clock, nine costumes missing since last year, an intern psychologist looking for volunteers for an experiment, a medium in a trance, a magic chair, etc., etc.” This film is the result of a series of practical exercises developed during the 2008-2009 academic year within the 2nd-year Acting course at Balleteatro Professional School.
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A bizarre place, nine missing costumes, a glove without its pair, a couple of creative lovers, a myopic detective, a trafficker in the attic, a slowpoke, a lazy maid, a wedding dress, a committed medium, an unlikely trio of adventurers, a goth girl and her diary, two uncompromising directors, an interrogation to find the culprits, etc., etc. This film is the result of a series of acting exercises explored with the theater class at Balleteatro Professional School during the 2007-2008 academic year.
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This film is the result of acting exercises explored with the theater class at Balleteatro Professional School during the 2006-2007 academic year. In The Chair, the concept consisted of completely suppressing the “other” in order to intensify the actor’s process of imaginary construction within the dynamics of scene partnering.
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This film is the result of acting exercises explored with the theater class at Balleteatro Professional School during the 2005-2006 academic year. In Eight Whole Stories, all the actors were invited to develop their own characters by referencing real or autobiographical events. The objective: to find in the authenticity of memory the emotional foundation for a corresponding authenticity in the embodiment of their respective characters.
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This film is the result of acting exercises explored with the theater class at Balleteatro Professional School during the 2004-2005 academic year. In Making Of, the actors were placed in situations of pure improvisation, forcing them to explore (and protect) the traits and idiosyncrasies of their characters based on a single principle: the believable reaction.
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