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From Godard to Beauvais, the lines of cinema stories are revisited again in Vila do Conde

8 September 2020
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Section inaugurated in the 2019 edition of Curtas, Cinema Revisitado brings back to the festival a set of special programs composed by rarities and scanned copies of works that mark the historical collections of cinema. For this 28th edition, new perspectives on Jean-Luc Godard's production, the celebration of the hundredth anniversary of "One Week", the greatest work of Buster Keaton, a carte blanche to the filmmaker Frank Beauvais and the premiere of the restored copy of "The Message", first feature film by José Fonseca e Costa. A special and familiar word for the programme of homage to Vicente Pinto Abreu, long-time collaborator of Curtas Vila do Conde who died earlier this year.

Not infrequently the stories and journeys of timeless artists are also made in the incursion into what we call minor disciplines. Commissioned works or early career projects can and should be seen as an integral part of a work that develops in a constant dialectic of life with art. Let us remember in this regard that one of the first professional tasks of the young Jean-Luc Godard, from 1956 to 1958, was that of press secretary at Fox, for which he created a precious set of promotional materials, press kits and videos which are today works in themselves. Mention should be made, for example, of the sparkling special issue of the Figaro-Pravda newspaper published for the launch of "Alphaville" (1965) or the legendary "Livret des Sous-titres" distributed in Cannes during the first exhibition of "Le Livre d'Image" (2018). In the same way, trailers, which live autonomously and become pieces of a creation story: that of "A Woman is a Woman" (1961), that of Two or three things I know about her (1967) or that of "Mouchette" (1967). Jean-Luc Godard: Pro-Motion - bandes- annonces - publicites - clip - films d'entreprise is the name of the special programme that Curtas Vila do Conde presents in October, curated by Nicole Brenez in collaboration with the Cinémathèque Française, and where short films, trailers, videos, videoclips and other advertisements created and directed by the Franco-Swiss filmmaker will be integrated.

Frank Beauvais is one of the names that mark the almost three decades of Curtas, where he presented his works several times. In 2020, the vilacondense festival invites him to a White Card that proposes a dialogue with the exceptional times we live in. The programme is based on the restoration of his latest work, "Ne croyez surtout pas que je hurles", a film made in the context of isolation and which relates his personal history to the history of cinema.

To talk about the history of cinema is not only to talk about your films, the geniuses who draw you or the protagonists who eternalize your face, but also about your everyday people. People whose work, dedication and love for the seventh art allow it to be replicated, to spread as a novelty and to question itself as a challenge. Vicente Pinto Abreu was one of those people, long time programmer of the festival and coordinator of the jury team, part of what is today the identity of Curtas, both in the always attentive and assertive contribution to the selection of films, and in the generosity with which he forced us so many times to give the body to dance at the festival parties. In the year that the festival lost a friend, there was no other way to honour him than with an invitation to go to the theatre. The selection of the programme to honour Vicente was made by Daniel Ribas, Rita Barbosa and Miguel Dias and will compile films from different periods of cinema.

Completing the programme of Cinema Revisitado, the special session around one hundred years of "One Week", the first film directed by Buster Keaton, which will be accompanied by a talk by film critic João Lopes on how the film relates to various moments in the history of the 20th Century, and the release of the restored copy of "O Recado", by José Fonseca e Costa, in a partnership with the Portuguese Cinemateca.

Sergei Loznitsa, Jafar Panahi, Guy Maddin and Nicolas Pereda in competition at Curtas

31 August 2020
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In this year in which public health issues have imposed a new awareness on how we relate to each other, the official selection for the international and experimental competition of Curtas Vila do Conde is built on a reflection on how the public and the private contaminate the construction of identities. There will be 48 films in the national premiere that, from places of intimacy, from cultural unions and differences, from divisions and meetings, connect us to different communities, ways of being and thinking.

Sergei Loznitsa and Jafar Panahi are two of the most interesting filmmakers of today. The first, Ukrainian, has built a work that travels through the territories marked by the Soviet legacy; the second, Iranian, has been an open channel for the understanding of contemporary Iran. They have an impressive sensitivity to work with the political, social and cultural problems of their people, and have been challenged by the National Opera of Paris to create a work with a singer as its central point. Night at The Opera and Hidden bring us two glances at the culture of the two countries where heroines sing, questioning notions of representation and interpretation. Bella by Thelyia Petraki, also narrated in the feminine, develops on top of a set of love letters exchanged between Anthi and Christos in the final straight of the Cold War and the fall of the Berlin Wall. Combining documentary and fiction, the film freezes a specific moment in time where everything was about to change. A personal journey also proposed in Correspondencia, a work through which Carla Simón and Dominga Sotomayor discuss their family inheritance and motherhood, using a set of images taken from their daily lives. A story about intimacy interrupted by a country's political emergency. Also filmed in Latin America, Electric Swan by Konstantina Kotzamani makes a micro-portrait of the community of Buenos Aires, through the history of a building where different classes inhabit different floors. A film where architecture relates to the emotional map of the characters, showing how different social classes organize the geometry of the city. 

When the Spanish Civil War handed over the victory to the Franco nationalist, more than 500 thousand Spaniards fled. A trend that had begun even earlier in the republican regions of northern Spain. In Diarios del exilio archive films and home movies are gathered, illustrating the massive exodus in the pre-dictatorship and documenting one of the country's most striking historical sites. It is also about escapes that we talk about How to Disappear, an essay built on top of a video game that reflects on the role of deserters in the war, thus opening a discussion around the armament policies of nationalist movements and the ideologies that mark the exercises on the war scene. In 1946, eight months after the atomic bombings, a film crew made a feature film in Japan. The reels manage to leave the country, but are immediately classified as secret material by North American entities. In La Bobine 11004, Mirabelle Fréville explores the archive and footage of what was the first episode of atomic censorship in history. 

When the team of Mi piel, luminosa (Nicolás Pereda and Gabino Rodríguez) went to Thomas More School to shoot, at the request of the Ministry of Education, a documentary on how the "Improving Primary Schools" project was being implemented, I was far from imagining that I would find a story that would change the direction of the film. A child placed in isolation in the classroom due to an illness that took the natural pigment from his skin becomes the central figure in a film where Pereda once again melts the boundaries between documentary and fiction. Filmed in Harlem and the Claude Monet gardens in Giverny, France, The Giverny Document is a cinematic poem that meditates on the security and bodily autonomy of black women. Crossing animation, archive testimonies and street interviews, Ja'Tovia Gary explores the creative virtuosity of black performers, while posing questions about how these bodies embody the legacies of forced labour. Also discussing the theme of racism and the integration of the black community in the world, South accompanies two anti-racist and anti-fascist organisations by proposing a look at the power of the collective and singular voices in the society we build. 

Also noteworthy is the premiere of Witness, by multi-award winning director Ali Asgari, Victor in Paradise, by Brendan McHugh, Look Then Below, the third episode of the trilogy that Ben Rivers is building around the work of American writer Mark von Schlegell, Stump the Guesser, a new tome in the surreal and dreamlike cinematography of Canadian Guy Maddin, Physique de la tristesse, the latest animation by Theodore Ushev, Color-blind, by Ben Russell, a portrait made between French Polynesia and Brittany, which follows the "ghost" of Gaugin for the colonial legacy of the present and Casa Sol, by Lúcia Prancha, which explores the militant universe of the Brazilian writer Hilda Hilst. 

The new confirmations add to the already announced focus on the works of Isaki Lacuesta, Elena López Riera, Ana Elena Tejera and Ana Maria Gomes. The festival's programme, which this year takes place between 3 and 11 October, will be revealed over the coming weeks, as well as details on ticket purchases.

A Night At The Opera, Sergei Loznitsa, France, 2020, DOC, 19'48''
Bella, Thelyia Petraki, Greece, 2020, FIC, DOC, 24'35''
Camille Sans Contact, Paul Nouhet, France, 2020, FIC, 15'
Correspondencia, Carla Simón, Dominga Sotomayor, Chile, Spain, 2020, DOC, 19'29''
Diarios del Exilio, Irene Gutiérrez, Spain, 2019, DOC, 43''
Dustin, Naïla Guiguet, France, 2020, FIC, 20''
Electric Swan, Konstantina Kotzamani, France, Greece, Argentina, 2019, FIC, 40''
Empty Places, Geoffroy De Crécy, France, 2020, ANI, 08'30''
Filles Bleues, Peur Blanche, Marie Jacotey, Lola Halifa-Legrand, France, 2020, ANI, 10''
Forastera, Lucía Aleñar Iglesias, Spain, 2020, FIC, 19''
Hidden, Jafar Panahi, France, Iran, 2020, DOC, 19''
Homeless Home, Alberto Vázquez, France, Spain, 2020, ANI, 10'
How to Disappear, Total Refusal (Robin Klengel, Leonhard Müllner, Michael Stumpf), Austria, 2020, ANI, DOC, 21''
L’effort Commercial, Sarah Arnold, Switzerland, France, 2020, FIC, 16'58''
La Bobine 11004, Mirabelle Fréville , France, 2020, DOC, 19'
Love Hurts, Elsa Rysto, France, 2020, FIC, 30'
Mi piel, luminosa, Nicolás Pereda, Gabino Rodríguez, Mexico, Canada, 2019, DOC, 39'
Nina, Hristo Simeonov, Bulgaria, 2020, FIC, 19'57''
On Est Pas Près D’être Des Super Héros, Lia Bertels, Belgium, Portugal, 2019, ANI, 12'48''
Os Olhos Na Mata E O Gosto Na Água, Luciana Mazeto, Vinícius Lopes, Brazil, Germany, 2020, DOC, 36'20''
Physique de la tristesse, Theodore Ushev, Canada, 2019, ANI, 27'
Pour Elsa, Carmen Leroi, France, 2020, FIC, 30'
Rio, Zhenia Kazankina, Russia, 2019, FIC, 22'
Something To Remember, Niki Lindroth von Bahr, Sweden, 2019, ANI, 5'
Souvenir Souvenir, Bastien Dubois, France, 2020, ANI, 15'
Stump the Guesser, Guy Maddin, Evan Johnson, Galen Johnson, Canada, 2019, FIC, 19'
Subject to Review, Theo Anthony, USA, 2019, DOC, 38'
The End Of Suffering (A Proposal), Jacqueline Lentzou, Greece, 2020, FIC, 14'15''
The Kites, Seyed Payam Hosseini, Iran, 2020, FIC, 14'
The Unseen River, Pham Ngoc Lân, Vietname, Laos, 2020 , FIC, 23''
Victor In Paradise, Brendan McHugh, EUA, 2020, FIC, 13'20''
Waste No.4 New York, New York, Jan Ijäs, Finland, EUA, 2020, DOC, 19'30''
Witness, Ali Asgari, France, Iran 2020, FIC, 14'51''

Aggregate States of Matters, Rosa Barba, Peru, Germany, 2019, DOC, 21'20''
Autoficción, Laida, USA, Spain, New Zealand, 2020, EXP, 14'
Casa do Sol, Lúcia Prancha, Portugal, Brazil, 2020 , EXP, 12'01''
Cézanne, Luke Fowler, United Kingdom, France, 2019, EXP, 6'36''
Color-blind, Ben Russell, France, Germany, 2019, EXP, 30'
Extraction: The Raft Of The Medusa, Salomé Lamas, Portugal, Switzerland, Italy, 2019, 2020, EXP, 10'43''
Jiíbie, Laura Huertas Millán, Colombia, France, 2019, DOC, 25''
Look Then Below, Ben Rivers, United Kingdom, 2019, EXP, 22'30''
Notes Imprints (On Love) Part I, Alexandra Cuesta, USA, Equador, 2019, EXP, 18'40''
People on Sunday, Tulapop Saenjaroen, Thailand, 2020, EXP, 20'53''
Plática de una Flor, Helena Estrela, Spain, 2020, EXP, 2'44''
South, Morgan Quaintance, United Kingdom, 2020, DOC, EXP, 28'15''
The Giverny Document (Single Channel), Ja'Tovia M. Gary, USA, France, 2019, EXP, 40'
THORAX, Siegfried A. Fruhauf, Austria, 2019, EXP, 8'
Una Película En Color, Bruno Delgado Ramo, Spain, 2019, DOC, 26'46''

Curtinhas and My Generation present complete program

28 August 2020
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The programming for the children's section of Curtas is closed and this year it reinforces its work with the school public. With a program that also extends to schools, where several film sessions will be held during and after the festival, Curtinhas will have, in 2020, a space totally dedicated to the school public.

The Municipal Auditorium of Vila do Conde will then be the room dedicated to the exhibition of films to students coming from the region's schools. A decision that aims to strengthen the security measures of the event, given the pandemic scenario we are going through. The registrations for schools are already open, being established a maximum limit per session of three classes from different schools and five classes from the same school.


Aiming also to reunite families with the cinema, Curtinhas will also organize family sessions, in a selection of films that travel through the universes and interests of different ages. Taking place in the Municipal Theater of Vila do Conde, there will be sessions for Major 3, Major 6 and Major 10, as well as continuing the My Generation program, a section that involves students between 14 and 18 years of schools in the region, responsible for choosing these films, promote this action within the school space, prepare texts and synopses and present these sessions.

In total there will be 26 films organized in different thematic sessions that aim to open the doors to new formats of audiovisual consumption and the debate on themes that mark the lives and ways of being of Portuguese students. 

A selection of these films will also be available on the online platform of the festival, to be released very soon. Schools can choose to schedule sessions for their own schools or for the Auditorium and registrations can be made through the email

Curtinhas, M3
Au Large, Mathilde Pepinster, Belgium, 2019, ANI, 05’51’’
Souvenir, Cristina Vilches Estella, Paloma Canonica, Spain, Switzerland, 2019, ANI, 13’30’’
The Little Thief, Nicole Vanden Broeck, USA, 2019, ANI, 3’8’’
Black & White, Jesús Pérez, Gerd Gockell, Switzerland, Germany, 2020, ANI, 5’29’’
Liv&Bell The World Boutique And A Flying Ribbon, Natsuki Kida, Japan, 2019, ANI, 5’
Lístek, Aliona Baranova, Czech Republic, 2020, ANI, 6’
The Witch & The Baby, Evgenia Golubeva, Russia Federation, 2020, ANI, 4’45’’

Curtinhas, M6
To: Gerard, Taylor Meacham, USA, 2020, ANI, 7’
Boriya, Min Sung Ah, France, 2019, ANI, 17’13’’
O28, Otalia Caussé, Geoffroy Collin, Louise Grardel, Antoine Marchand, Robin Merle, Fabien Meyran, France, 2019, ANI, 5’
Matilda And The Spare Head, Ignas Meilūnas, Lithuania, 2020, ANI, FIC, 13’9’’
Tobi And The Turbobus, Verena Fels, Marc Angele, Germany, 2019, ANI, 7’30’’

Curtinhas, M10
Luce & Me, Isabella Salvetti, Italy, 2019, FIC, 10’
Têtard, Jean-Claude Rozec, France, 2019, ANI, 13’40’’
Champ, Cassandra Offenberg, Netherlands, 2019, DOC, 15’30’’
In Deutschland, Christoph Rath, Germany, 2019, FIC, 14’41’’
Bach-Hông, Elsa Duhamel, France, 2019, ANI, 18’

My Generation
Carne, Camila Kater, Spain, Brazil, 2019, ANI, DOC, 12’
Amerigo Et Le Nouveau Monde, Luis Briceño, Laurent Crouzeix, France, Chile, 2019, ANI, DOC, 13’47’’
Song Sparrow, Farzaneh Omidvarnia, Iran, Denmark, 2019, ANI, 11’43’’
How To Disappear, Total Refusal (Robin Klengel, Leonhard Müllner, Michael Stumpf), Austria, 2020, ANI, DOC, 21’
I, Julia, Arvin Kananian, Sweden, 2020, FIC, 15’
Sangro, Tiago Minamisawa, Bruno H Castro, Guto BR, Brazil, 2019, ANI, 7’15’’
Goodbye Golovin, Mathieu Grimard, Canada, 2019, FIC, 14’1’’
On Fait Salon, Léa Forest, France, 2019, DOC, 25’
Yandere, William Laboury, France, 2019, FIC, 21’


Curtas premieres new section dedicated to amplifying new voices in world cinema

17 August 2020
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New Voices will be the new non-competitive section of Curtas de Vila do Conde which aims to be a space for the exhibition of emerging directors, whose work of short and first feature films already constitutes a consistent and differentiating body of work. At a time when the cinema is facing new challenges for its distribution, this programmatic space solidifies the commitment of the festival to discover new trends and support for cinematography that will mark the future of the sector. For the first edition the choice is made with female voices. Three directors, with different connections to the festival itself, whose work, in film, performance and installation, has mirrored, in a particularly idiosyncratic way, issues of identity, sense of belonging and connection to territories. Elena López Riera, Ana Elena Tejera and Ana Maria Gomes are the new voices to meet between October 3 and 11.

Elena López Riera is a Spanish visual artist and filmmaker, working since 2008 in Switzerland, where she teaches cinema and literature at the University of Geneva. She is co-founder of the Lacasinegra collective dedicated to research and experimentation of new audiovisual devices. Her first short film, Pueblo, premiered at the Cannes Film Festival and her film Las vísceras was selected for the Locarno Film Festival, where she would win the Poardino de D'oro in 2018, with Los que desean. Her work questions the ways in which the new generations query the cultural heritage transmitted, as well as the ways in which individual actions represent the collective consciousness.

Ana Maria Gomes is a French-Portuguese artist and filmmaker who lives and works in Paris. She graduated from the École Nationale Supérieure des Arts Decoratifs in Paris, and continued her studies at Le Fresnoy, specializing in video art. In 2004, she made her first short film Simomen, a portrait of her 14-year-old brother. In 2014, he directed Lindo António, a film about his uncle who left Portugal and went to Brazil 50 years ago - never to return. Gomes' work focuses on the role of fiction in the construction of personal identities, with particular focus on his intimate and family circle.

Ana Elena Tejera is a Panamanian filmmaker, visual artist and actress. She studied psychology, performing arts and documentary film and is currently a resident artist at Le Fresnoy. She studied with Béla Tarr, Pedro Costa, José Luis Guerin, Patricio Guzman, among others, and has also collaborated in the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya. She is also creator and artistic director of the Festival de La Memoria, an artistic project of performance and installations in urban decontextualized spaces with images from political archives, and member of the Chroma Theatre Company of Barcelona. She is mainly interested in the crossing of audiovisual formats and performance. Tejera premiered his first feature film, Panquiaco, at the Rotterdam International Film Festival.

Using different languages, Tejera, Gomes and Riera's works are concerned with personal territories and intimacies, taking a close and contemporary look at issues related to their cultural heritage and inevitably taking root in the environment where they grew up. Through their films, they challenge us to problematize issues related to a cultural heritage marked by ancestral rituals and with a strong origin in male territory. The focus that Curtas de Vila do Conde dedicates to them will include the passage of Más Que A Mi Suerte, Pueblo, Las Vísceras, Los Que Desean, Panquiaco, António, Lindo António and Bustarenga.
Ana Maria Gomes won the National Competition in 2016 with António Lindo António, her most recent film Bustarenga being a production by Curtas CRL. Elena Lopez Riera was the winner of the last edition of the festival with the film Los que desean and Ana Elena Tejera has just directed Panquiaco, her first feature film, premiered at the Rotterdam festival, and shot between Vila do Conde and Panama. The festival's programme, which this year takes place between October 3rd and 11th, will be revealed over the coming months, as well as details on ticket purchases.


António, Lindo António, Ana Maria Gomes, France, 2015, DOC, 41'47''
Bustarenga, Ana Maria Gomes, Portugal, France, 2019, DOC, 30''
Las Vísceras, Elena López Riera, Spain, France, 2016, FIC, 15''
Los Que Desean, Elena López Riera, Spain, Switzerland, 2018, FIC, 24''
Más Que A Mi Suerte, Elena López Riera, Spain, 2007, FIC, 14''
Panquiaco, Ana Elena Tejera, Panamá, 2020, DOC, 80'
Pueblo, Elena López Riera, Switzerland, Spain, 2015, FIC, 27''

New format and focus on Isaki Lacuesta's work are the first novelties of Curtas 2020

6 August 2020
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Filmmaker, producer, set designer, essayist, writer and curator, Isaki Lacuesta is one of the most interesting and outstanding Spanish artists today. From dance to music, to painting, literature or architecture, the list of areas in which the Spaniard has been intervening is long and multiverse. With more than a handful of films and documentaries for TV, his work has been screened all over the world, in venues as referential as the MOMA, the National Gallery in Washington or the Pompidou Center in Paris.

The program selected for Curtas Vila do Conde will include short and feature films, as well as the author's first exhibition in Portugal. Taking place at Solar - Cinematic Art Gallery, it will deal with the installation dimension of Lacuesta's work, who will be present in Vila do Conde to introduce his films and participate in a conference open to journalists and the public. Isaki Lacuesta will be accompanied by Isa Campo, an unquestionable creative partner, both in the writing of most of the screenplays of his films, and in the sharing of the directing.

Curtas Vila do Conde will take place this year between October 3 and 11, presenting a new format, adapted to the new reality and consumption habits. Along with the regular event in cinemas, that will once again have as its central spaces the Municipal Theater of Vila do Conde, the Municipal Auditorium and Solar, the event will promote a set of initiatives in an online format, thus expanding its area of action and allowing the audience and the filmmakers to meet in a safe and close manner. Several sessions in VoD format are programmed, in partnership with Shift72, as well as the holding of debates, interviews and master classes in a virtual environment.

The festival programming will be revealed over the next few weeks, as well as details of ticket purchases.

Looking Back: a glance under Take One! Competition

27 July 2020
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The Take One! Competition, created in 2005, appears with the aim of focusing attention on the best that was being done in Portugal in terms of school films, thus creating a platform that would function as a showcase for new talents emerging in national cinema, emerging in film schools. Even though since 1997 Curtas awarded the Young Portuguese Filmmaker Prize, with this new competition the idea was to take the focus on new directors and first works even further, creating a space where they could be exhibited and valued. It would also be a way to affirm the success of national cinema revealed by Geração Curtas and the format as an essential tool for new directors, whose affirmation would not be the result of chance but of a comprehensive and continuous work, not be something temporary but something that was here to stay. The sessions of this competition are some of the most popular and with a unique aura, as they give the chance to see the enthusiasm of those who present their work for the first time in a theater, since most of the new directors are present at this opportunity.

The story goes that if Geração Curtas would correspond to a greater internationalization and recognition of Portuguese authors abroad, never the national cinema, and in particular its new authors, reached a level as high as in the most recent years, winning unprecedented awards in important film festivals and on an ongoing basis: for example, between 2012 and 2017, at the Berlin Festival, three Portuguese films received the highest prize for short films. In fact, few similar initiatives can boast of showing firsthand the works of directors who would later be awarded the prestigious prizes of the Cannes and Berlin festivals, such as the cases of João Salaviza and Leonor Teles. Winner of 2005’s Take One! with the film “Duas Pessoas”, João Salaviza is perhaps the most notable name among those who have passed through this competition, a director who from an early age impressed by the maturity and assertiveness of his vision, combining social concerns with an refined and sophisticated visual style, collecting an enviable curriculum along the way: winner of the Palme d'Or at the Cannes Film Festival for Short Films in 2009 with “Arena” and the Golden Bear at the Berlin Festival with “Rafa” in 2012, “Montanha” - his first feature film - premiered at the Venice Film Festival in 2015. Leonor Teles, winner of Take One! in 2013, with “Rhoma Acans”, in 2016 would repeat the Portuguese feat of winning the main prize of the Berlin Festival for short films with “Batrachian's Ballad”, two works that revealed a style as irreverent as confident, interested in the issue of identity, looking at both the past and the future. She is currently one of the greatest promises of national cinema - her first feature film premiered at Cinéma du Réel and her most recent work was selected for the Venice Film Festival.
Another name that has been consolidating a remarkable curriculum, with several awards and presence in the most important film festivals is Salomé Lamas. A filmmaker who works in an innovative way the frontier between formats such as documentary, experimental and fiction, while constantly reinventing her cinema, she has had distinctions in important festivals such as FID Marseille, Visions du Réel, DocumentaMadrid and DocLisboa - her first feature film “No Man’s Land” premiered at the Berlin Festival in 2013. With several appearances both in the national competition and in the experimental competition of Curtas, she debuted at the festival precisely in the Take One competition! in 2009, with her film “Swan Girl's Palimpsest Or It Rained During Two Days And The Landscape Has Changed”. Author of some of the most original works of recent Portuguese cinema, Jorge Jácome, after a presence at Take One! in 2010 with "Deixa Cair a Noite", has been asserting himself as someone to watch carefully: present at the Berlin Festival with his latest film, "Past Perfect", which was awarded the Short Film Grand Prize of the 2019 edition of IndieLisboa and nominated for the European Film Awards, and his previous film “Flowers”, also winner at IndieLisboa (New Talent), was selected for the Toronto International Film Festival.

Mariana Gaivão is one of the most notorious recent cases of a filmmaker going from Take One! to the Portuguese Competition of Curtas, and someone who has also been creating an admirable filmography, along with a successful career in film festivals. The director participated in the 2007 edition with her school film “Sitiados”, to later be selected for the Portuguese Competition in 2012 (“Solo”), 2014 (“First Light”) and in 2019 she was distinguished with the prize for Best Director in Curtas, with her beautiful and hypnotic “Ruby”, a film about the end of summer and childhood, which premiered at the prestigious Rotterdam festival. Sofia Bost has also had a remarkable journey: in 2015 she made her debut at Take One! with her school film “Swallows”, and in 2019, her first film - but already with an assured and complex vision - “Party Day” premiered at the prestigious Semaine de la Critique in Cannes - the short film was also shown on the program of the Portuguese Competition of Curtas.

With a double participation at Take One!, in 2006 with “Quinta da Curraleira” and 2008 with “desPolido + desPolido ii”, Tiago Hespanha is one of the most interesting and daring Portuguese authors to explore the possibilities of the documentary genre - his most recent feature film “Campo” was shown at Cinéma du Réel and awarded in Locarno. “Anteu”, João Vladimiro's most recent film, was probably one of the most original and most well received (and discussed) works at the 2018 National Short Film Competition, adding selections for the Rotterdam Festival and the New York Film Festival, while displaying the singular vision of its director, who debuted on Take One! in 2006 with “Pé na Terra”. The duo Vasco Sá and David Doutel, who have established themselves as one of the most important working in animation cinema in Portugal, and who have been collecting important awards throughout their career, debuted in 2008 at Take One! with “Obtuso” (co-directed with André English), to later participate in the Portuguese Competition with “Soot” (2014), for which they were distinguished with the prize for Best Directing and the Audience Award, and “Augur” (2018 ).

There are several examples of new talents from Portuguese cinema, who had a recent passage at Take One! and now we can accompany them at different stages of confirmation of their potential: Pedro Peralta, who was awarded an Honorable Mention during his participation at Take One! in 2012, with “Mupepy Munatim”, is another case of a filmmaker who would later gain international recognition: his impressive short film “Ascension” was chosen for the Semaine de la Critique of the Cannes Film Festival in 2016, and then awarded at Indielisboa. Also awarded an Honorable Mention at Take One! in 2015 with “Sala Vazia”, Afonso Mota was later awarded at Indielisboa in 2019 for “Phantom Power”; Diogo Baldaia participated in 2014 with “Figure”, would later be the winner of the Portuguese Competition of IndieLisboa 2017 and selected for the Portuguese Competition of Curtas in 2019; they are names to follow closely, like the most recently awarded at Take One!: authors as Duarte Coimbra, winner in 2018 with “Amor, Avenidas Novas”, a dazzling film that was distinguished with the New Talent Prize at IndieLisboa 2018 and screened at the Semaine de la Critique of the Festival de Cannes; Inês Vila Cova, awarded in 2017 with the film “De Gente Se Fez História”, made from a collection of amateur footage from VHS archives, a film against forgetfulness, made from family records and affections that are also the history of a community, Caxinas; and in 2019, Tomás Paula Marques, with the film “Em Caso de Fogo”, an emotional and sensitive drama about a lonely protagonist who just wants to “pretend nothing has happened and continue to dance” - these will certainly be names to follow in the near future and that is the mission of Take One!, not only to offer the opportunity to discover new talents but also a window into the future of Portuguese cinema.
(João Araújo)

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