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VIEIRARPAD begun with the correspondence between the couple Maria Helena Vieira da Silva and Arpad Szènes, between 1932-1961. The letters and the intimacy of their words are pretext for the exploration of an equally intimate visual journey
Indefatigable worker and in multiple artistic fronts, the architect Raul Lino (1879-1974) left us a fundamental work for the understanding of the Portuguese ways of being and inhabiting. The film approaches that legacy starting from texts published by the architect, which place the problematic of the House in a much wider context than that placed by the problems of construction itself. Imagined and drawn for people, being so mirrors of their personalities, tastes and memoires, Houses are the meeting-point between Man, Art and Nature. Therefore, the tremendous responsibility of Architecture: of those who make it and those who uses it.
Leafing through a family album, filling memories and emotions centered on the charismatic figure of the grandfather, captain of a cod fishing boat. A personal landscape, breaking with reality—exposed in the allusive photographs—and the confluence of these two languages—one evocative, the other enchanting—through the Woman, a virtual character. Chapters: 1 - "Spring - Work in White" 2 - "Summer - Work in Red" 3 - "Autumn - Work in Black I" 4 - "Winter - Work in Black II"
In order to make some much-needed cash for himself, 65-year-old Portuguese prison inmate Eugenio impersonates a young woman and begins a romantic correspondence with a lonely Portuguese truck-driver living in Boston, convincing him that her tragic life has culminated in financial dire straits so he will send money. At first Eugenio's sister Idalina assists him in creating the character of Maria da Luz. Touched by her sweetness and apparent loving nature, the trucker willingly sends her money. When Idalina starts fearing they will be caught, she backs out of her arrangement with Eugenio who then convinces his young cellmate Vasco to help write the letters and even sends a picture of himself at age seven to "prove" that Maria has a young son. As prison life exacts an increasingly heavy toll upon Eugenio's health, his feminine alter-ego helps sustain him.
Using texts and landscapes belonging to Gonçalo Ribeiro Telles and to a life of work dedicated to landscape architecture, João Mário Grilo composes this poetic documentary about the evocative power of nature and man.
In the quietness of rural life, small disputes about the right to use a rivulet may take the proportion of a life-and-death matter..