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It's essential to generate life, dialogue, understanding, and to celebrate humanity. In times of widespread pandemic, raising questions about the preservation of democracy, the integrity of public health, and our own notions of individuality, we are dragged into a process of change. Mudança is an encounter between the artist Welket Bungué and the Portuguese parliamentary politician Joacine Katar Moreira. Here they question the essence of their crafts, making an unexpected paradigm of imminent revolution resound.
Prima and Lebsi are two young Afro-descendant women who grew up on the outskirts of Lisbon, daughters of immigrants who occasionally meet at a house party, on Cousin's birthday. Lebsi dates Rave, a young street dancer who makes a living dancing in the streets of central Lisbon, and they have a daughter in common. Prima is an orphan of both her father and mother and learned to let go of herself very early on. She lives alone with a cat and found selling cannabis as her alternative to generating money and paying the bills. Still, she is also a respected beat producer in the neighborhood. Both want to improve their lives, they dream of getting out of the “zone” but in the meantime they are living as best they can, asserting themselves in their way.
The story of a 24 year-old, who grew up in an institution for six years and returned home of their host family. He lives with his younger brother Zezito and his adoptive grandmother, Dona Angustina.
'I Am Not Pilatus' is a poetic and artistic manifesto by Welket Bungué. This film reviews the case of police brutality that occurred in Bairro da Jamaica (South Bank, Lisbon) in January 2019. That case shocked the Portuguese and the African diaspora. The film connects the case to the mobilization achieved in the march held at Avenida da Liberdade (Lisbon), an initiative of young black African descendants complaining about justice and more egalitarian rights regarding police treatment of the black population living in Portugal.
Proposes a speculative meeting between the Baron of Água Izé, the first nobleman in the Portuguese colonies of the 1800s who was of mixed European and African ancestry, and Maria Correia, the Black Princess of Príncipe Island in the 1700s. Reanimating them through the bodies of contemporary artists, the film uses dance, poetry and music to weave profound threads between the past and the present. Transcending space, time and language, their encounter wrestles with questions of culpability, power and the exploitation of both land and Black bodies.
On the shores of Lisbon, Arriaga, a 25 years old boy from a middle-class family of emigrants walks alone through the silent and wrinkled streets by vices of the nightlife. Arriaga deals with his self-destructive alter ego to be accepted among the youth of his neighborhood. Everything happens in one place, everything revolves around a single moment, what is suspicious only the unexpected can unfold.
Shaped by mysticism, resistance, and the voice of revolutionary leader Amílcar Cabral, we take a personal and poetic journey through the anti-colonial past and present of Guinea-Bissau.
A filmmaker follows the odyssey of an invisible missionary as he wanders between villages in Guinea-Bissau, trying to respond to the call by Amílcar Cabral, who wishes to hear the voice emanating from the heart of his people, and witnessing the country’s chaotic operational impasse, which is ultimately overcome by the people’s determination to succeed through hard work.
Two siblings face their problems and undergo a profound inner transformation at a time when they both rediscover themselves. Lidia struggles to cope with her newborn baby: she can’t handle the expectations, doesn’t recognize her body, and distances herself from home and her boyfriend. Her brother Lauro works in a funeral agency. Divorced with a son, he grapples with accepting his bisexuality. Though the siblings rarely saw each other, their shared challenges bring them closer on a journey of rediscovery and profound inner transformation. The light at the end of the tunnel isn’t an illusion; the tunnel is.