Born in Lisbon, 1990 and raised in Pontinha (suburbs).
Graduated in Sound and Image from ESAD.
CR and master from the National Film School (ESTC) and HEAD – Genève.
In 2018 directs his first film BOSTOFRIO, OÙ LE CIEL REJOINT LA TERRE, multi-awarded and shown in more than 40 international film festivals around the world.
In 2019 it was acclaimed by the critic's as “top 10 films of the year” for Jornal Público.
BOSTOFRIO reached more than a million spectators globally (festivals, TVs, cinemas, streaming, etc).
PÉRIPHÉRIQUE NORD premieres at Visions du Réel ’22.
SAVANNA AND THE MOUNTAIN premieres at Directors’ Fortnight.
The community of Covas do Barroso, in northern Portugal, discovers that the British company Savannah Resources plans to build the largest open-pit lithium mine in Europe just few meters from their homes. Confronted by this imminent threat, the People decide to organize themselves and expel the company from their lands.
Steeped in the isolation of suburban Tasmania, Imogen and Audrey reflect on their lives, families and dreams between puffs on bongs, vapes and cigs. Dark clouds approach in the conversation and landscape as local wildlife looks on indifferently. Beyond the drugs and arcades, what possible routes of escape remain?
A car aficionado, filmmaker Paulo Carneiro travels 2000 kilometres to meet car enthusiasts of the Portuguese community in exile. In a pop and urban universe, Périphérique Nord explores this shared passion and the freedom it provides for these exiled persons who seem to finally find (once again) a territory of their own.
In a remote village called Bostofrio, a young filmmaker breaks the law of silence in order to unearth the story of his grandfather. A series of awkward and funny interviews that reveal the secrets and half truths that are the fabric of rural Portugal.
Certainly an outstanding case of beauty and mystery, this short film by Mozos creates a strange alloy of literature and cinema, and not in the way one discipline is a vampire for the other, but rather as if they were the different faces of the same coin, drawn to coexist and repel each other. As if every film belonged to a lonely species, Ashes and Embers shows a unique arrogance as it trembles, somewhat defenseless, with no certainty that the folds of fiction constitute any kind of survival guarantee for such strange objects. Memory and ghosts are two words that are easily said, but in this singular and very refined film they seem destined to become the ultimate goal of cinema, and its most endurable desire.
In the village of Leva-e-Traz, the discovery of a oil field is responsible for a mass evasion of the townspeople. Left are the old and incapable for the extraction job. When the local priest announces he, too, is leaving the town, Satan emerge thrilled with the chance of overtaking the place.