It is a book that emerged after the documentary about Mario Cesariny.

The work of the poet and surrealist artist Mario de Cesariny is almost immeasurable and quit all this experience in one documentary was almost a work of sculptor chiselling, where it was necessary to sculpt a narrative that shows the other side of the man, his more intimate facet that merges with his own career. The documentary by Miguel Gonçalves Mendes has that look, folks, but not transferable, but as with everything in life, time is always a constraint and a lot was left out that can be enjoyed in this book, beautifully illustrated by images of Susana Paiva . It is a work where descortinámos humans, the thinker, the brother and lonely. It's the conversations that were caught between filming scenes, small complicity that emerged and that somehow had no space in the documentary. It's a small tesourinho literary, not only for the beauty of the photos, but also because this small tribute ultimately show the other side of the filmmaker, photographer and the camera crew. It's like having a license to enter into a privacy truly moving on many of the pages. Happy reading!

It is one of the colors that will surely brighten the summer of 2013

The orange color symbolizes joy, stimulates optimism, generosity and enthusiasm, nothing more indicated to enliven the spirits this spring-summer and national catwalks do not disappoint, particularly in the collection of Ricardo Preto with its agile creatures motion contained as self describing with geometric pieces that elongate the silhouette and at the same time are tight.

The collection of Ricardo Dourado is a wonder. Under the slogan "West meets East" bet on fluid pieces with a touch of futurism, the vests are retrofitted, the sleeves puffed are well delineated and the patterned fabrics are reminiscent of camouflaged warriors.

www.modalisboa.pt

It is an album with several versions of Portuguese band Soaked Lambs

This is a very eclectic cd, we traveled to various places, in multiple languages​​, on multiple timelines and various musical strands through 12 tracks that should be heard without haste, like as the day it was recorded, on Sunday, if you really want to know. There is a certain fusion in some of the themes, but what remains are the versions of some classic of Merle Travis, or Georgia White and others and also there is room for three songs in Portuguese, which I highlight "the flower and the thorn" that had the collaboration of Rodrigo Leão in the arrangements and that was the debut single from this album full of treasures. I must say I'm suspicious to talk about this band, since in addition to music, there are two significant reasons to make like this "soaked lambs," the singer, Mariana Lima Balas with her velvet voice that reminds me of the divas of the 50s, her retro look seduces me, not to mention the glasses, it is my fashion side talking, but in fact I cannot resist it! The other reason is Alfonso Cruz, the big guy with the beard, I like everything he writes and draws for the covers of the CD. It is a literary weakness, but I am hopeless. Gito, Vasco, Tiago and Miguel forgive me, but if it's of any consolation, I love the way you play the versions ranging from jazz, to blues, towards tango. It is actually true, I warned you it was a trip!

Nuno Rocha is a young Portuguese filmmaker who has earned a series of awards across borders through his short films. A path in the movies he want to keep long and fruitful and for the pursue of his gold he decided to created in partnership with a colleague form college "filmesdamente" that produces film, advertising, television and also promotes workshops in the area of ​​audiovisual.

What inspired "3X3"?
Nuno Rocha: It had not a definite inspiration. I intended to make a film without dialogue, with few resources and with minimum one or two actors. I like the silent movies of the twenties, thirties and then maybe we can talk about inspiration. It was a short film that where I did not want dialogues and therefore had explored more facial expressions and physical behavior.

The choice of actors was careful, because the protagonist has a very particular face.
NR: Yes, I wanted the casting to be particular; this may be the better word. Both characters have their importance, both are very different, one uses the mind and intelligence to achieve its objectives, the other in the background is the strength and the manner. There are two opposing forces either in physical appearance or behavior and it was important for me to have two characters well characterized and distinct. For the security I wanted that aspect and I finally found the ideal actor to play the cleaner.

Going back a little inspiration for this short fetched some elements from "Laurel and Hardy," which was a comic show of the time that were talking about earlier.
NR: Maybe, I saw all these shows and films, from Charlie Chaplin to Buster Keaton. I saw that cinema that it was very direct with very simple stories to be understand even by a child. It was a kind of physical comedy with expressions, all the body movements demonstrated throughout the history without using the word, since it only appeared in text form. My idea was not to make a movie from the twenties, but modernized it, with a language that was also understood by anyone, whether an adult or a child.

"Moments" is another of your projects, again without words.
NR: Yes, it's another film without dialogue, because I wanted it to be a more international short film, it was likely to be seen by anyone without resorting to subtitles. In this case, I thought I master how to tell a story without resorting to dialogue, I decided it was not hard even being different, not being a comedy. And it was. The LG agreed and I filmed a story, plan, by plan, using expressions and actions.

Portuguese is a hindrance when you think of a movie?
NR: No, obviously there are languages, such as English, which make it easier internationalization. This does not mean that a movie in Portuguese or any other language will not succeed. It can be a stigma for some filmmakers, for me it is not. However, about the fact that a film has or not dialogues when talking about a short film that is published on the Internet probably can be watched by more people if it is in English language, or no language at all and this is true. Speaking of movies in the cinemas, people do not attach importance to it, go regardless of language, there Portuguese films that manage to succeed overseas as there are Spanish films that can also break this barrier. It may be an obstacle when it comes to short films on the internet, which is a form of publishing, but when we spoke of cinemas it is not a problem.

However, Vicky and Sam are not spoken in Portuguese.
NR: It's true, this is a film that was present in several film festivals and won a total of 24 national and international awards and was the target of 75 selections to festivals around the world. And it is spoken in English, because in the internet it is easier to reach everywhere. If it was in Portuguese could be a successfully film internally, but the same could not be said in international terms, even subtitled, because people are not used to reading subtitles in other countries and when we are talking about a movie with lots of dialogue and that is fast, Portuguese was an obstacle in terms of propagation.

What do these awards mean to you in terms of career? It is an incentive? It Helps how?
NR: The prize above all is the recognition that the film has some quality. When is selected for a festival to start this only indicates that there has already been a choice, because there are many works that compete and only a part is selected. The prizes are relative, because we are talking about a jury of 3 or 4 people can like or dislike the movie, or appreciated others equally good. In the case of "Vicky and Sam" I was surprised by the number of awards it earned, it managed unanimity in terms of taste.

Do you think as a young filmmaker that your country does not recognize your work?
NR: I think it recognizes, although my works boils down to shorts. I think I have some visibility internally, not as much as I would have liked, got more recognition abroad. I had a few prizes in national terms that were very important, honestly expected more from Portugal. Which is not to say that in the future people cannot recognize my work in a different way? In our country a director of short films is still viewed with some suspicion. From the moment that comes out a feature film, which goes to the cinema, people then yes, they can better evaluate the director. Although I think the filmmaker is seen by its short, if he did not direct a huge film, maybe it had neither means nor money to do so.

So you think that because of the difficulties inherent in financial terms in order to produce a feature film the only option left to get to know your work is making small films?
NR: Yes, normally the filmmakers, with some exceptions, must start with short films. It is a format that allows the director with a smaller budget, but also in a shorter time show what he is capable of. Unless you have your own money, but I find it hard to believe a producer betting on someone without seeing some of their work. Typically, short films are made with personal investments and then go to the festivals and are recognized or not.

What are the challenges of making a short film?
NR: The challenges of making a short film are identical to a feature film. The difference lies in the costs are lower and the time spent is smaller. The challenge is the will to do so, because after all it is not for free.

It is harder to tell a story in such a short time?
NR: Not necessarily. You can tell a story in 30 seconds, is the case of advertising. The pace of the narrative, the editing is different. There are 3 hour movies, because they need that time to tell a story, but time is always relative at cinema.

You have now a new project is a feature film.
NR: For now I cannot say much because I'm still writing it, it is in the stage of the script, will be produced later this year and early next. I hope it will be as soon as possible, but it is a long process.

But it will be filmed in Portugal?
NR: Do not know, depends on many things. In this case I don't know, but who knows?

Now speaking of movies in a more general term, how do you see nowadays Portuguese cinema?
NR: The Portuguese cinema, and I'm talking about in the recent past, has improved in order to get closer to the public. The proof is that in 2012 people watched more Portuguese cinema surpassing the Americans blockbusters, which is a good sign, it means that the public accepts better national movies, whether more commercial or less commercial, it is not applicable here. The important thing is that the movie was made for an audience and to get people to the cinema. And are slowly making peace with the public, I believe that within a few years, the national cinema will be more present that the ones that comes from abroad. It would be a great victory.

As a young filmmaker do you defend the participation of the state in the financing of the films, or do you think its role is irrelevant in this matter?
NR: It is irrelevant, I think the State in recent years, invested in bad movies. Very bad ones in general, with some exceptions. We are talking about movies with large budgets, half a million euros, which went to the movie theaters and had 100-200 spectators, there are cases like this and nobody heard of them. Most projects were funded after the cut by the government, but no one knew those movies that were not made for the public, were made simply to please his creator. I cannot accept this, because I am a filmmaker who sees the film as something for an audience and not for a person who does it for itself. Some things should change in how subsidies are distributed to have a reality different from what has been until now.

But do not you think that this prejudice by the public is because many of these films were not promoted properly?
NR: That's one of the reasons that why I usually when we held workshops, what are the stages of production of a film and the idea that one has in Portugal is that there are only 3, pre-production, production and post-production. The film is done with the final cut editing and people forget that needs a fourth, which is promotion. A large share of the budget has to be and should be used for this purpose, because if not no one will see, if the film is not promoted how anyone will know it exists? Only if indeed there is such an interest, because what counts is doing it, earn the money and its ready. It is a selfish process for the producers and directors that has happened so far to the point of not wanting the public and that cannot happen anymore.

There are filmmakers who simply do not know how to promote the film, will also be a reason?
NR: It could also be by ignorance, also are not interested. But there are producers and directors in Portugal who know what is important and do it in the televisions and other entities and well. At the international level does not happen, the film is promoted in Portugal and does not go beyond borders. It's hard to understand how everything works, because there are no rules, no nothing, everything works randomly. It is difficult to comment on that, I do things my way, the promotion is important to me.

Teogonia marca o arranque de um projecto artístico com origem num poema mitológico escrito por Hesíodo no século VIII antes de Cristo. É uma obra com 1022 versos que descreve a origem dos deuses, assim como do seu envolvimento com os homens e os heróis que foi transposta para a tela por dois artistas Nair Morna e Roberto Macedo Alves. Duas visões pessoais que derivaram em 11 reinterpretações de fotografias de pessoas “comuns” sob a forma de divindades gregas. Uma exposição a não perder na Casa das Mudas.

Teogonia/1 porque a escolha deste tema?

Roberto Macedo Alves: Tem a ver com a busca da transcendência. Foi uma questão que abordei com a minha colega de exposição a Nair. Achámos que neste mundo tecnológico tínhamos perdido um pouco a magia do transcendente, tudo tinha uma explicação científica que acaba por tirar um pouco do encanto destas coisas. Abordámos a importância dos mitos, das tradições antigas e essa conversa acabou por derivar para outra que foi a importância do retrato e assim surgiu a experiência de desenhar onze pessoas normais como se fossem deuses gregos ou criaturas estranhas e retratar de alguma forma a transcendência que há em cada um de nós.

Sim, mas também há um mundo paralelo. Alguns dos retratos reflectem o teu universo pessoal, profissional e até o teu gosto, muitos dos quadros são das pessoas que te estão mais próximas.

RMA: É uma interpretação desse mundo grego. No fundo temos dois tipos de trabalhos, os meus e os da Nair. Os trabalhos delas são mais rigorosos, muito mais académicos e formais. O meu é o mundo dos gregos, pelo filtro do artista, como eu os vejo. O artista sempre deixa algo de si na sua obra, daí a utilização de alguns elementos pessoais para realçar os retratados, esse aspecto do divino e a tal nobreza de caracter que vejo em muitos deles. Neste caso foram parentes e amigos, porque foram os que alinharam na brincadeira, haveria pessoas que poderiam levar a mal serem retratadas como deuses.

Esta dualidade entre o teu trabalho e da Nair foi sempre o ponto de partida, ou surgiu posteriormente?

RMA: Foi sempre o ponto de partida, portanto a base foi sempre a mesma. Partimos da mesma fotografia e o mesmo deus e o que cada um de nós fazia com isso. Não comunicamos enquanto decorria esse processo criativo. Não trocámos nenhuma ideia, para não haver interferências de um lado ou de outro. À partida só veria no final os deuses gregos segundo a Nair e o mesmo comportamento se aplicou em relação a ela. Queríamos ver como a sensibilidade de cada artista filtrava a mesma base, uma fotografia e uma palavra.

This ecological action is one of the finalist for the award Terre de Femmes.

"Future - Project of 100 000 trees in the Porto Metropolitan Area (MPA)" by Marta Pinto, a researcher at the School of Biotechnology (ESB) of the Catholic of Porto, is one of three finalists for the new edition of the award "Terre de Femmes" , from Yves Rocher Foundation, which rewards women who act for the environment and is already underway. This idea is one of sustainable selected for the grand final, which will take place on February 7th, in Lisbon, at Restaurant Monte Claros (Monsanto Forest Park). This is a project that, besides improving the quality of life of the inhabitants of AMP, promotes the improvement of the environment, contributing to the welfare of society. A initiative that aims to create urban forests with native trees that enhance landscape quality, mitigate the climate, act as natural barriers in case of fire, purify water and air, reduce the risk of soil erosion and act as a sink carbon. Until today and under this project were already planted more than 17,000 trees at the municipalities of the Metropolitan Area of Porto. This involved 2750 volunteers, a total of eight thousand hours of volunteering. The award is organized in 15 countries, including Portugal (fourth consecutive year), honoring women eco-citizens in Europe. To the date, this award has rewarded more than 285 women worldwide.

http://embaixadadafloresta.blogspot.pt/

It's a show about sex in SIC woman.

It may seem a provocation address the various aspect of the Portuguese sexuality in a television program, but what actually contributes to the success of this type of content, in particular the "100 taboos", is the presenter, Marta Crawford a true veteran in television terms, renowned researcher in this area and someone who has a great ability to communicate. I think what makes the difference between it and the other congeners is above all her telegenic looks and the comfortable way she addresses some of the issues that are still taboo in our society. Perchance her classic beauty aids in sober and credible image that is intended for this type of television programs, since in many cases it seems almost implied that talking about sex always involves libidinous scenarios with hostess that only debit a pre-defined text, which is not the case. The aim is to elucidate and discuss for 30 minutes in an atmosphere of social gathering some of the doubts and prejudices related to sex and I can see that "100 taboos" can do it intelligently.

An uncompromising look on the new nationals sounds.

It's a different blog about music, because it does not say much, but shows the latest videos of new bands and sounds that emerge in the Portuguese musical panorama. The most interesting, perhaps, is that you can vote in your favorite music, singer or group, the choice depends of the visitor of this uncompromised page, just click on the star of your preference. The top is defined simply by the greatest number of votes of the internet surfers and the current topic of choice of those who passed through here is "Insomnia" by Filipe Pinto, the same young man who did not want to participate, but ended up winning the contest "idols" and no more names I will tell just come and see! The music videos as you might guess are not the same of the radio list hits or some television programs, which end up making it a great content to (re) discover a lot of new and good music that is still done in our country, with the advantage of having access to some of the lyrics, because as they say, "a lot of good is being done yet."

http://novamusicaportuguesa.com/2012/03/12/the-soaked-lamb-hello-bang-bang-goodbye/

With a career in fashion that completed a quarter century, Hugo Santos does not want to stick around, goes in search of a dream, a new phase on his career, by the presentation of the whole evolution of the Madeira embroidery in his collections and the recognition of this work to the world.

Tell me a bit these twenty-five years in a medium as is the fashion?

Hugo Santos: I am 50 years old and I am working on it for twenty-five years, we can say that is forty, because I was born and lived in this mean, my mother and my father had an embroidery factory. Initially we were four children linked the arts and I was the youngest and wanted to be an architect, or go to the fine arts, but I ended up here, in what was a family business, almost homely. I always wanted to uplift handicrafts, embroidery applied in fashion in order to value it a little more so that it was made with higher quality.

The career that you eventually built was what dreamed for?

HS: I proposed myself to start this career by goals. I started with a base that was my mother and embroidery, but it was a path made of practically zero. Right now I'm at the stage I should be. From my 25 years old until the age of 40 I knew I had to work to build a studio, so I did it. Then I knew I had to do an apprenticeship and discover how to put the embroidery and make it to look the best in garments and I think I'm getting there, because I tried many tissues, various materials, always trying to be the best option.

After exploring these materials are you already at a stage that you completely dominate?

HS: Yes I am. It is the demand of not losing the origins and tries to get around using different types of applications. I've done in the past, very sophisticated pieces, now I'm back to the linen. Try to rediscover a traditional blouse that will become a more commercial product, but that was not equal to the original. I believe that my clothes now have a new technique. The drawing is done the same way, what change is that the model has more fashion that is present.

This aspect results from a demand from the market, or are the clients that require? Or is it just what Hugo believes that this is the way of evolution?

HS: Results of a search of the persons, but it is also something much mine. It is the look and did not want to step too far ahead without having what I consider to be in fact, the best solution in order to feel accomplished, to feel that evolves. People come here with the dream, but I have to give a more updated vision, using a new technique with a way to apply the latest materials, it is my duty to find good solutions.

It is a novel by Manuel Jorge Marmelo

It's an easy read, accessible and the story would be seductive even if the author did not got lost in the narrative. In the early chapters we are led to believe that this is a kind of police novel, since it begins with an alleged crime, that endangers the life of trapeze artist Ricardo, the star of the company and Pavarotti, the singing donky, who appears ignoblely dead. As if by magic this potential narrative strand disappears, is relegated to the background, and the book ends up focusing on the daily life of a dying circus through the eyes of a teenager, Julio, who dreams of one day having his own number mounted on a motorcycle into the pit of death. The artists that populate this potentially dramatic scenery are well delineated by the author, the young narrator, whets our curiosity, creates in the reader's will want to know more, the characters are growing in complexity over several chapters until the book ends abruptly, with a band aid solution, let us say, for both mysterious incidents and what could had been a very interesting and full of suspense reading until the last page instead leaves a certain bitter taste of disappointment. Happy reading!