Miguel Nunes

Maria Vitória lives in a remote village in the Portuguese mountains and plays football on the local boys youth team. Determined to become a professional, she devotes all her free time to intense training with her father. Their routine is shaken by the unexpected return of her older brother, who left many years earlier after a tragic fire that took their mother’s life. As she prepares for the most important match of her life, Maria begins to question her father’s authority and gradually seeks a way to break free and take control of her own future.

Lisbon, 2027. Marta and Miguel are both researchers that are part of a scientific group and a couple in their private lives. Their relationship will be put to the test on one decisive night when the parameters that Marta is analyzing point to the very high probability of a major earthquake hitting Lisbon. The group splits, debating whether or not to warn the population of the possible impending tragedy.

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

In 'Os Fotocines', an intimate portrait of the war is built with those who lived it. This documentary feature film aims to investigate who were those, that in the Portuguese colonial war, lived with the simultaneous responsibility of fighting, defending their own lives and also, of permanently recording that same collective mission, through cameras and shooting, as well as screening.

Can a turtle, the most pacific animal on earth, start a range of significant events that are going to forever change a couple's life? After dividing all their assets, Arnaldo e Barbara still have one decision to make before they formalize their separation: what to do with the turtle? Amongst hesitation and failed solutions, unintended burglaries, police stations, plastic natures and misunderstandings, a single turtle fate is postponing this couple's separation. Because they know that, when they give the turtle back to its natural habitat, their relationship will be over. Are they ready for that last step?

An unexpected meeting on Twitter, introduces young actress Luísa to António, a writer and journalist, who hides his identity using Rasputine as his profile name. This virtual relationship becomes the centre of their lives and one day, they finally decide to meet. But, on his way, António has an accident…

Antonio runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.

This is the story of a young Mozambican footballer called Eusébio, a gifted athlete destined to great achievements, coveted by rival clubs, Sporting and Benfica, which ends up hiring him. Blackmail, kidnapping attempts, ministers involved, press hysteria and huge money offers make the story of this football transfer into a saga evolving between the two continents. It ends up when the legend begins: with Eusébio’s first match at the Benfica Stadium.

Lisbon; after another blistering summer, Miguel finds himself in a deep jadedness. An improvised party erupts at his apartment awakening the memory of a passion.

Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.