Vila Nova de Gaia and Vila do Bispo are the municipalities with the most unpolluted beaches.

Zero System (Sustainable Land Association) has identified 71 beaches unpolluted in Portugal. This number means that it has not detected any contamination in the analyzes carried out over the last three bathing seasons. This represents 12% of the total of 579 bathing sites in 2016.
This unprecedented analysis of the Zero Association took into account the parameters of the legislation and concluded that there are 67 coastal bathing areas, 3 indoor and 1 transition (estuary) with zero pollution. Municipalities with the largest number of beaches in excellent environmental conditions are Vila Nova de Gaia and Vila do Bispo both six and Aljezur with 5 beaches. The islands were only represented by Santa Cruz, with just a beach, Garajau, which is a protected area.

Although it is extremely difficult to get a unscathed record over 3 years in the inland bathing areas, much more susceptible to microbiological pollution, there are 3 beaches in this situation: Rossim Valley in Gouveia, Fraga Footprint in Macedo de Cavaleiros and Zaboeira in Albufeira Castelo do Bode, in Vila de Rei.
From data obtained from the Portuguese Environment Agency, Zero Association identified the beaches along the three bathing seasons, not only always been rated "excellent" as they showed zero values or below the detection limit in all analyzes performed the two controlled and microbiological parameters of the legislation (Escherichia coli and intestinalenterococos). That is, in all analyzes made there was not even the detection of any colony forming unit.

Three warnings for the start of the bathing season

Zero selected three behaviors crucial for swimmers, or beach goers of the selected beaches for this early summer season 2016
First, for environmental and safety reasons, they should only be frequented beaches classified as bathing areas, where there is surveillance and where you know the water quality. Second, they should not be left any debris on the beach and preferably should direct them through the selective process. More than 80 percent of the 12.2 million tons of plastic entering the marine environment every year come from terrestrial sources, being the major contributor of waste plastic, including items such as beverage bottles and other containers. Finally, it must preserve the landscape and the surrounding ecosystems bathing water, avoiding the trampling of dunes or other sensitive areas.

If you want to see the table that I use as refer is in the link below:

http://zero.ong/portugal-tem-71-praias-com-zero-poluicao-2/

Making a journey through the railways of Europe requires some planning.

I always wanted to do the interrail and began to cherish the dream of a backpacking trip back across Europe, since I heard the first reports of my friends over the years that embarked on this kind of adventure, in groups or alone, thru the European rail roads. After the entry of Portugal in the European Union and later the opening of the Schengen space traveling has become even easier and interrail accompanied this change. Currently instead of groups of countries we could visit with one ticket, we can even go to 30 nations depending of the number of days we want to use the service and that's what I decided to do, visit several countries with a single five-day ticket in the second class.

Sensibly the interrail site asks travelers to schedule their trips well in advance due to constraints arising from vacancies in some of the trains and also take into account certain extra costs that comes the obligation to reserve a seat in some of the busiest routes. What I meant to do? Traveling without programming anything and go visiting countries as my mood adventure dictated. What happened? I learned that we live in a world that even if we do not want it requires a certain organization, I mean Europe, and is not that the experience was disappointing, it was much different than I had imagined.

Let me explain, if they wish to make use the best possible wayof the interrail you must program and know how to manage the railways of the countries you wish to visit and leave some of the romantic sense of adventure into the unknown.
In my case I decided to travel thru the Netherlands, Germany and Belgium and what I learned was this:

To earn extra days in addition to the five previously acquired, the traveling must be at night, because the day time is to visit the cities you chose, but attention you should only embark on trains from midnight on in the country you want visit and never before, why? Because if you have to cross two nations as was my case from the Netherlands to Germany no longer there is a direct trains as in the past, what counted as just a day trip, you will have to change rail-companies, it means two days on your pass interrail. If you intend to earn that extra day, you should do it this way, travel between these two nations over dawn, so even if they have to change railroads you will arrive at your destination in the morning and can also take advantage of the pass interrail the end that same day.

Which brings us to the second question, the unexpected with which you should count (though the interrail manual address this issue). Many of these night trains require seat reservations and the extra pay that can range from 7 to 40 euros. Let me explain, if you intend to go on a wagon of six places (something I would strongly advise), because if you are lucky are the only occupants and can sleep at ease in empty seats and pay the minimum rate, them if you intended to be a kind of bed in rail , you pay more then 40 euros and if you have bad luck and not arrange anything you have to go in normal places, for the modest sum of 7 euros in the same, as was my case and sleep there becomes a challenge. Friendly advise, take sleeping masks because of the strong light, ear plugs because of the noise, pads for the shoulders, food and plenty of water and still, forget the shame and remove your shoes to be able to stretch your legs for confort, everyone does it as opposed to what you might think.

The other advice I have to give, always look in train stations for the balconies of international trips because without exception are served by very friendly employees that you help "navigate" through the respective national transport system that you are visiting, to choose the best times and reserve seats. In all the countries I visited everyone spoke English and it is particularly important to do so in the Netherlands, because the entire railway system works digitally and when you have a paper ticket becomes all a bit confusing because you do not know where and how to validate a trip. After all, it is not necessary for anyone who enjoys the interrail, you just have to fulfilled the dates of your trips that are validated by reviewers already inside the train. Very important, never forget to fill in the dates before the trip or make the mistake of rasurar the ticket, it can be costly, the fine can be around 100 euros and you lose a day trip because you got to fill it again, it was not my case, but these warnings also appear in the manual that comes with the interrail ticket and I advise strongly to read it carefully.

Third friendly warning, download the app that interrail makes available, because it is very useful to search routes, times and still shows the stops to the destination station. It was a very important tool, taking into account the locations have what seem strange names and thus avoids potential hasty exits from the train at the wrong stop.

One last piece of advice, if you decide to travel in Europe do it from the spring on, the days are longer and although you do night journeys, there is always a twilight that helps us to appreciate the landscape that in another time would be impossible.

Finally, I would make this kind of trip back? No. It was a truly a wonderful experience, because the routes are beautiful in terms of landscape during the day, trains are comfortable and the staff are always helpful and chordal, but when you are in your twenties is much easier to deal with body ache, lack of sleep and of hygiene, which does not mean that I'm sorry, on the contrary, at least I can now say I did and I can already think of my next adventure.

It's a story about one of my great passions.

I recently read a story about an English woman tourist who threw herself into the sea, on the island of Madeira, allegedly to swing back to a cruise ship where her husband was, the woman was rescued from the sea by three young men who have decided to go fishing that night and one of the details that caught my attention in all this convoluted story was that the lady in question was able to float, in the cold waters of the Atlantic, thanks to her bag. And this last fact did not surprise me, because under any circumstances a woman never leaves her bag behind. Which brings me to the subject I want to explore, women and their bags. In this world there are two types of appreciative bags, those that use large bags, XL type and women who prefer the size S.
I belong to the first group, because my whole life is concentrated in my bag. I am the kind of woman who in emergency can find almost anything in the botton of my bag, as if it was the top of a hat of a magician, all sorts of things, from plasters, ointments, writing paper, water, pills for a head pain, etc. etc., think of anything and probably that object consists of the contents of my bag. More, I have a friend who possessed among her personal belongings a screwdriver that had been forgotten inside her bag and that accompanied her for almost a year. And I'm not kidding! Not to mention the mummy bags that are true warehouse of stuff that you leave you with your moth open of amazement. But why a women feel the need to have everything in their bags? I do not know. I have no logical explanation for this almost insane behavior, which implies kilograms of belongings transported daily with long-term consequences for our bone structure, in my case I can only say I do not like to be caught off guard, I have to have everything within reach of my hand. My daily life is a race between the point a to b, c and d and this means that I can access quickly in the contents of my bag to all kinds of things that I need for my daily hustle and bustle. Honestly, I admire women who concentrate all in a small item, I do not know how they manage. When I have to go to a party and carry a clutch, I'm become anxious just by looking at that so narrow space that does not allow me to take almost anything. And I think, what I do with this? Basically, my bag is a kind of lifeline for all occasions and now we go back again to the tourist who threw herself into the sea, if not for her bag would she have survived? I doubt it!

What are the limits of our sanity? What defines us as normal? "The madness among us" takes a look at the runners and grids from a psychiatric hospital, looking for characters and stories that reveal the boundaries of what is considered crazy. Primarily through female characters, the documentary of Fernanda Vereilles exudes the reason of contradictions, making us reflect on our own conflicts, desires and errors.

Why you chose this topic? Why speak of a mental institution in Bahia?
Fernanda Vareilles: Actually I was introduced to the book by Marcelo Veras, a psychoanalyst of Salvador. He wrote a book about his experience as director of a hospital Juliano Moreira I read that book spoke to me, I made a suggestion to visit the hospital and I visited it. I was there the first time and talked to a few people and saw that I had very rich material to make a documentary. The idea came after enough conversation with the director and from there we started to do the film.

In the documentary slowly begin to emerge two people, two women who in fact are part of the story and that you avidly show the entrance process at the institution, at least one of them. This choice came naturally?
FV: Yes, I started attending the institution, we went with a very small team and we started to integrate in the Criamundo, which is the group speak off that exist in the hospital. The whole team did crafts with them, sometimes hung up the equipment and left with them in their activities, was a kind of test so we can create that intimacy with the camera. The connection of Rosângela and Leonor was built in the process, I also created links with other people of Criamundo that I filmed, but in the end we have just filmed them both. We did interviews with many of the patients we have 250 hours of film to transform them in 76-minute of documentary. With these two we were creating this intimacy, there was a transfer between me and them and they were chosen as the main characters, but it was not an original idea to make a documentary about them, was actually built in the editing.

What were the main challenges when shooting within an institution like that?
FV: Well, it was a rather burocratic process. From getting the permission to enter the hospital, we had all the support director at the time for this dive at all levels with the people who work there, it was a daily achievement for our team, production, because filming a psychiatric hospital is a pretty crazy idea. They had a psychologist who asked me, why I chose to interview that person and not the other? Why that person has everything and you are interested in a certain character? They are also questions that you put yourself. Among other difficulties of making the movie is how to get permission, how to get money, how to get funding, to be there even as it renders, briefing the director, this whole process is difficult and time consuming, but well worth it, because the pleasure of film making and the power to move people is cool and pleasant.

You said you had to ask for permits, the directors demanded you something while filming patients?
FV: They first tried to understand my purpose, I did not want to make a sensationalist documentary, but one that is talk about the subjectivity of that world and it was more a matter of trust, get them to understand my work, what I wanted to do and my intuitions. They saw my previous work and after getting that confidence, from there, there was not more requirements, but we also asked permission to all the people who are in the film, it was necessary to shoot.

Do you think being a woman is easier or not?
FV: Actually I was very interested in other characters in Israel who is in the movie, I love him, but then he went through some personal issues. I do not know if been woman would be different, would be another film made by another person, man or woman, but I cannot identify if there is a gender issue really. I had a producer who was a woman and others who were men, but I honestly cannot answer that question.

When you showed the film for the first time was in Brazil.
FV: We showed some slips here in France. The world premiere was in Curitiba.

What was the feeback in Brazil to your documentary?
FV: It was very positive, I had the film in some cinema rooms. I was very pleased the reaction of people mainly from psychology area who are interested in the theme of madness and psychoanalysis. It is a film that can serve a lot of basis for this issue that has to be discussed, because it is very important. But I'm happy with the critics that were made that was very positive.

On the other hand, with this documentary you expose a mental health system with many weaknesses, which is not much supported by the Brazilian government or is it?
VF: I did the documentary accordingly. It is a system that does not pass by the political parties, I think it is a very strong thing in Brazil that is mental health. I know that portrays a poor health system, but the purpose of it was not to make a denunciation, but to show the weaknesses of the characters, the world they live in and that reality in the hospital they attended, I found people very engaged with this cause.

When did you start filming were you aware of what was to have a mental illness and when it was finished the documentary it changed your concept?
FV: I had a very naive idea. I had a very superficial notion as the whole world knows about mental illness. The first time I entered the hospital I was intimidated by all that madness and a certain freedom. Gradually the documentary will show the complexity of what is this theme. As I filmed for four years this issue and into the lives of these people, it allowed me to deepen and know better that world, in the film I portrait the disease and I asked them about the disease, but that did not interest me, what I wanted to do was show as they could see me despite that mental suffering and how they could deal with it at different times of their life, between madness and humanity.

One of your characters eventually commit suicide at the end. What impact this had?
FV: I remembered that she had had many encounters with death, had several attempts at suicide and lived always trying to avoid it, but it was very present in her life. This issue of death touched me, for me it was a difficult time in my life. As for the impact it had on the film, I decided to finish the film there, perhaps would have continued to shoot because the decision to end the shooting had not yet been taken. Her death did not affect me, I prefer to believe that did not, I think the last few years of it from the testimony of people close to her told me she clung to that a little shooting, but the truth of what happened no one knows.

Changing the subject, you live in Paris and now are you preparing another documentary or film?
FV: I'm with three projects. One in Brazil, one in France on the French identity crisis and a fiction that are underway.

It is easier to film outside or within Brazil, not taking into account the funding?
FV: It depends. In Brazil there are people very open to ideas, I have worked abroad, on the Israeli-Palestinian conflict on the people who lived around the wall, but it depends. I think in Brazil, I do not know how it will be from now on, there has been a very dynamic movement in terms of cinema, much to be produced, with funds to shoot films.

And the Brazilian public enjoys going to the cinema to see documentaries?
FV: That's something that is implementing gradually the national film is not a tradition, but I believe that in time we will implement our film culture, it will happen, but it is still a process that is starting, because it does not have much public.

https://aloucuraentrenos.wordpress.com/about/

Paulo Brito is a self-taught artist who is dedicated to sculpture. Shaping the stone is an art that fascinates him and whose work he presented in a small exhibition at Caravel art center, with the title of "rotation".

Why the choice of this title for this exhibition?
Paulo Brito: It was more because of a piece, I find it interesting and people are very fond of this work, so I decided to call this exhibition of "rotation".

It is also to show the work you do in stone?
PB: Yes, this exhibition have these works, but there were others that could not show because of the size and space itself. These are more abstract, but I also address the figurative, I do not care much to the artistic style, what emerges is what I do.

You work mainly sculpture, what is your preferred material?
PB: I work mainly with the stone, because it is a great challenge and requires a lot of patience, a lot of concentration.

But, you work different kind of stones?
PB: In this exhibition, no. One of the pieces exposed part of my private collection, is only to show the surprises that arise when we worked the stone, was commissioned by the 500th anniversary of the Campanário and I inadvertently found a fossil, so I found it interesting and let visible to the public could see the surprises that arise when we worked the stone.

Also possess some volcanic stone work. It is a hard stone work?
PB: It's a complicated stuff work this type of stone because it is tough and very abrasive. It really burns the material with which we worked. We have to have specific tools to work it.

Burns hands is that it?
PB: No, it is an abrasive stone with materials, the working tools we used, they have a very high level of wear.

And from all the works that you shows which is your favorite?
PB: I have no preference, the stone is that it takes me to idealize one piece.

When you make a sculpture how it begins the creative process? You look at a rock and arises you an idea?
PB: Yes, more or less. It depends. Sometimes, I have an ideia and when I put into practice, however, arise others, I developed the concept as I cut the stone.

What inspires you?
PB: I will not seek inspiration, not in any specific place.

You go out in search of stones and there are those who call you more attention?
PB: Yes, here are some materials that call me more than other stones.

What about the materials that are not common on the island?
PB: Sometimes I order, I go to a warehouse that exists on the island that has stones and talk to them, are my suppliers. They even let me work in this space in the larger pieces, the smaller can develop at home.

Esculturas-paulo-brito.webmode.pt

The country produced clean energy which resulted in less than a ton of CO2 into the atmosphere.

The Portuguese Renewable Energy Association (APREN) and Zero (System Sustainable Land Association) analyzed the REN data (National Energy Network) and concluded that between 6:45 of the 7th of this month and 17:45 of the 11th of this month, corresponding to a total of 107 hours straight, "struck up an important record in this century" quoted from the Daily News. The president of APREN, António Sá Costa said it is"a harbinger of what will become reality in the near future, which will be 365 days a year." The official also stressed that this milestone "is also a testament to what is possible for all the doubters, adding that "today, more than half of the electricity consumed in about half a year is renewable, the question is not they are still days in a row" .The advantages of four days and means powered by renewable are numerous, since no emission of a tonne of carbon dioxide (CO2) to the atmospher and not have to import coal or oil. For Zero, the data show that "Portugal can be more ambitious" in a transition to a net consumption of electricity from 100% renewable, with huge reductions in emissions of greenhouse gases, which cause global warming and consequent climate change.

In the first quarter 2016, 72% of electricity consumption in Portugal was fueled by renewable energy sources, according to REN. The company registered on the 18th of February a record production of electricity in Portugal, of 232 GWh, due to peak production of hydro and wind sources. "The National Electricity System had the ability to fit into the network production peaks and maintaining high levels of service quality", explained in a statement.

http://www.pordata.pt/

Jorge Palma's music transcends generations and therefore remains one of the most beloved artists and as has been said the most pardoned by the Portuguese public. A touch of natural genius he does not recognize, because he faces the music with hard work, continuous and pulse.

In more than one interview you states that your creative vein probably has passed, you do not think that maturity and experience count?
Jorge Palma: I think there are stages that I do not need much to pull the imagination, there are always new things happening, because there are more productive periods than others. Even when I wrote the song "a blank page" is a little joke with the imagination, it is basically work. I Just put in my head that will make a good record, but the first things go to waste.

So you think will still write their best album ever?
JP: The idea is to always do a good thing. I think so, because I'm gathering a lot of information, so the age and experience helps...

It makes perfection?
JP: No, no, I do not want perfection. (laughs)

And the recodrs you have edited before which is better reflects the artist?
JP: That's very subjective. I like all for different reasons, some for more emotional reasons, others because they are more effective.

As the "give me fire" that was a hit with the critics and the public?
JP: That is a collection. It was very well organized by Tiago Palma, my son, by the way, is my best collection was very well treated and mastered. The song "Give me fire" is one that stya with the public and which is more or less obligatory to play.

You feel that now have a new audience after the appearance of "night flight" and one of the songs have been part of the soundtrack of a Portuguese soap opera?
JP: This truth we do not know, but the "lay down next to me" was a success that no one was waiting, not worth making predictions. The truth is that summer 2008 I could no longer hear it, it was everywhere, on the street, fire station... (laughs)

Do you think that had not been part of the soundtrack of the soap opera would have the success you had?
JP: Of course it helps always. But success does not come from a soap opera, or of a particular album is the result of hard work, the pulse depends on continuity. There are things that go better even in the concerts, there are always better than others, for various reasons, but there is a very healthy way.

Addressing the concert, there is an emblematic theme people ask you to play forever?
JP: It depends. There are always shouts (Laughs) If the song is in alignment, if I feel able to play, I play it. But what often happens is that I end up touching these songs because of the alignment, I usually do big concerts, more than two hours, in concert with the Ségio Godinho there are even a lot of music that goes far beyond those two hours.

You said you were born an musician, from the four years when you started playing piano ...
JP: There was not aware of it, but the truth is it was.

If you were not a musician what would have been?
JP: I've wanted to be aviator, fire fighter (laughs). I studied with some conviction an engineering course, liked to have finished the course because I like math, physics. I would not have done any harm, but the truth is that the musical environment provided a lot of activity and it was impossible to reconcile the two.

This area of mathematics influences when composing?
JP: I think mathematics has influence on everything in balance and functioning of a melody is key.

And the lyrics? I know that one of his teachers was Ary dos Santos.
JP: It was so, he gave me the tools to work, transmitted me confidence and it was very important that work period, was an all day party atmosphere, but there was a lot of work. Then I have other teachers who do not know they are, the things that I hear now died Bowie. When I like a song, I put my mind in learning the words, I really study it, I not only memorize it , try to understand how the person wrote that and try to deepen as much as possible.

To be an excellent musician, there has to be a little music lover, listening to great music? This is important for the process?
JP: There were periods of my life passing from morning to night listening to music, but listening carefully. This time not so much, but can be a Mozart, as Tiago Bettencourt.

This is important to the creative process?
JP: When I want to listen music I do not like there is talk, people moving, or speaking. In my teens and twenties I got used to it, could be a dozen people, but we heard, no one was talking, we listen very carefully, I liked to take guitar parts, bass, drums and piano to learn.

But still hear a lot of classical music?
JP: My mother teach me to listen and as a child was very fond of listening to classical music. After adolescence turned to rock, but resumed studies because there are fantastic composers, Joahnn Sebastian Bach is a sound that there is no way you won't be completely surrendered.

In this stage you are touring concerts by the country, including with Sérgio Godinho, but have you a new project in mind?
JP: The project now is this tour, but an end that is not in view. So continues. I have every time more work and want to see if I record new songs, I'm in the mood.

The Mozambique Fashion Week presented the new trends for this spring-summer 2016.

Thanks to partnership Portugal Fashion and Fashion Week in Mozambique I could meet some of the most renowned designers of this country and its collections. I must admit that I was fascinated, delighted and blind sided by many of coordinated not only because they take us to the continent through its vibrant patterns, but also by the explosion of colors and types of tissue that left me completely surrendered. I must confess I wore almost all pieces and many of them are a great suggestion for the new season approaching.

"An idea is a starting point and nothing more. Once you begin to elaborate it, is transformed by thought". This phrase by Plabo Picasso was the initial idea for the collection of Roselyn Silva, who presented clothes of vibrant colors ranging from shades of pink, crimson, blue, yellow and white. Coordinates that show case dynamic silhouettes with cutouts that help enhance the geometric patterns, conveying the idea of a strong woman and at the same time very femenine.

The collection of Shaazia Adam for next spring-summer period is inspired by the movie "Factory Girl." The muse of the collection is Edie Sedgwick. They are very colorful and coordinated floral, traits that coexist with very flowing skirts with a mixture of hard cuts. It also has a very young profile with baby shades of pink, salmon, olive green, coral and yellow along the clothes. Sizes range from shorts and long or three quarters blazers. The outfits also come with a floral embroidery and decorations along the lines of the neck and waist, and in his pockets.

Ideias a metro presented a collection with a unique and exclusive pattern that reflects the fusion of Mozambican culture through its traditional fabrics, the capulanas and Portuguese culture, particularly through the colors and patterns of traditional scarves of Minho. There is a mix of colors, fabrics and textures are very feminine, elegant and sophisticated pieces but always with an extremely comfortable design and a bohemian touch.

The brand "Omar Adelino" has been showing since the year he entered the fashion world a concept of class, glamor, simplicity and much unity in terms of standards. The color palette involves noble tones like black, gold and the color of the Mozambican traditional capulana. The materials chosen are the lurex, lace, gianni linen, chiffon, the capulana, swarovski stones and pearls. The collection consists of twelve combinations, there are nine female and three male , which aims to show a bit of a modern Africa, simple and expanding. a meeting of chic and casual.

http://www.portugalfashion.com/pt/edicao/ss16/participantes/dielmar/ideias-a-metro-mozambique-fashion-week/

It was a compulsory work for marriageable young women, written by Laura Santos.

Recently when I did some cleaning rediscover two books that belonged to my mother and that in her youth was almost obligatory reading for anyone who was going to get marry, the famous "bridal school." I delighted while I was also horrified by some of the chapters that discuss the concept of modern woman who received a kind of manual that taught her among other things how a bride should behave, the kind of outfit that must have the post-marriage life, how to please her husband, the care of the children, advice in how to take out the various types of stains of clothing (which I truly find useful), the decoration of the home, which is an appropriate table service , how to fix a closet, how to clean the house, what kind of plants are suitable in a residence and of course this "little nothings that make a good cook" accompanied by recipes (some wich seem to be very tasty, I must confess). In one of the pages she even says that "not only a woman has to be a perfect housewife, economic, neat and skilful. You should also welcome people in your home, both your friends, as friends of your husband "unquote, referring to the subchapter of the presentations. Now, maybe this give you an idea of the level of excellence expected of a young married woman to the point of being necessary to publish a book to help her in this herculean task of the management of a Portuguese home (and yes I am being ironic if you have not noticed!). And do not think that it was an anachronistic concept from that time, "bridal schools" had ... and still has a wide audience in our country, because by doing a quick search on the internet I found a 2007 edition and not only, as a curiosity it should be noted that the author, Laura Santos, on behalf of books and other publications on Portuguese cuisine and handcrafts she built a publishing empire that still remains today.
After leafing through this "brides school" I could not help but reflect on the role of Portuguese women in society from the 60s and early 70s of how these young women were confined to an ideal of perfect housewives and not desperate, wonder womens, very well-dressed and with a constant smile on their face, on a conservative society that allowed them to work, or travel only with written permission of the husband or the father in the case they were single. I just have one more thing to add on this matter, hurray the revolution of April 25th! Happy reading!

It is a movie of Juliano Ribeiro Salgado and Wim Wenders on the photojournalist Sebastião Salgado.

This is a black and white narrative that takes us back to the photographic journey of Sebastião Salgado throughout his career. It is mostly a split view on one hand, Wim Wenders focuses on the professional from the point of view of the fan of an iconic work. On the other, we have the look of the son, which addresses the lack of a father in constant motion motivated by the desire for other realities, other distant worlds that departed him from the family everyday. What is curious is that Juliano Ribeiro Salgado must be part of that wandering in order to be able to meet the father who was never present and lets us know him through this documentary. Gradually these two opposing views of the same man complement each other and are building a narrative that is not limited to admire the work, but also shows the more human side, more fragile and intimate of a man that perpetuate on pictures the worst and the best of human nature. As well it honors a third basic element for Sebastião Salgado's career, his wife, Lelia Warnick Salgado, because without her nothing would have been possible. The Salt of the earth is a remarkable documentary, because it is impossible to remain indifferent to the darkest images of human history captured by the razor-sharp lens of Sebastião Salgado, but at the same time ends with a breath of hope when addresses his last major photographic project génesis and also the work of the Earth Institute, an environmental non-profit organization founded by the family Salgado, which aims to reforest the Atlantic forest in southwestern Brazil.

http://www.expogenesis.pt/