- • Ashes and blood
- • Astragal
- • Bazar
- • Casanova Variations
- • Cosmopolis
- • Cosmos
- • Dubaï Flamingo
- • Dying or feeling better
- • Eyes find eyes
- • Fool moon
- • Four nights with Anna
- • Lines of Wellington
- • Love songs
- • Mad Love
- • My soul healed by you
- • Mysteries of Lisbon
- • Never Ever
- • Obsessive rhythms
- • Our Paradise
- • Photo
- • Stalin's couch
- • The Beautiful Days of Aranjuez
- • The blue room
- • The inner life of Martin Frost
- • The Mother
- • The threeway wedding
- • The Young One
- • Tonight
By Carlos Saboga
ROMA FILM FESTIVAL 2012 - Cinema XXI
Frédérique Rouault - +33 (0)1 42 01 84 76
Official website: www.photolefilm.com
Her mother just died. Her father is not the one she thought. Her quest for the truth leads her from Paris to Lisbon between past and present.
Born in Portugal, which he leaves as soon as he can. He successively lives in Paris, Rome,
Algiers, without papers for a long time, then with identity papers, and again in Paris, where he lives at the moment. He exerces, with more or less conviction and diligence, jobs as translator, production assistant, journalist, (columnist, reporter, correspondent, film critic) both in the print media and on the radio and television. He collaborates, mostly moonlighting and not credited, to the realization of “La Jeune Morte” by Claude Faraldo, “Il Sasso in Bocca” by Giuseppe Ferrara, “Jacquou le Croquant” by Stellio Lorenzi. He writes, as well, for the television and cinema, such as “Les Filles du Maître de Chai” by François Luciani, “Le Blocus by José Fonseca e Costa, “Le Trajet de la Foudre” by Jacques Bourton, “Un Ballon dans la Tête” by Michaëla Watteaux, “La Place du Mort” by and “Ras le Bol” by A.-P. Vasconcelos, “Le Mal du Pays” by Fernando Lopes, “Le Miracle selon Salomé” and “Un Amour de Perdition” by Mario Barroso, “Mysteries of Lisbon” by Raùl Ruiz, "Lines of Wellington" by Valeria Sarmiento. Selected in different competitions and festivals. Very rarely rewarded. No diploma.
The character rather than the plot.
The actor rather than the camera.
The body rather than the psychology.
The photo out of the past rather than the flash-back heading back there.
The voice as much as the face.
The off-screen as much as the set.
The hypothesis that the key in a movie, is what isn’t seen.