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On the shores of Lisbon, Arriaga, a 25 years old boy from a middle-class family of emigrants walks alone through the silent and wrinkled streets by vices of the nightlife. Arriaga deals with his self-destructive alter ego to be accepted among the youth of his neighborhood. Everything happens in one place, everything revolves around a single moment, what is suspicious only the unexpected can unfold.

Holly Lady Hood, actuality. Somewhere between Sacavém and Camarate there is a neighborhood composed of Afro-descendants, Indians, Indonesians, Gypsies, Portuguese ex-emigrants and especially from the north of Portugal that settled in the capital since the 1960s. There is still a lot to be told, based on the experiences of the peripheral areas of Lisbon, places with disruptive potential but still dormant. Because not everything that precarizes certain means of our deluded society defines it as a place of marginality and discrimination, but it makes those people more instinctive so they believe on unlikely hopes and throws themselves into the smallest possibility that could exist for salvation. The cadence of life inscribed in the lyricism of the "new hip-hop tuga" and the wit to solve problems in the day to day combating the inequalities installed by the System, are the driving force of the dialogues incorporated in the story of these people. 'VÃ ALMA / Vain Soul' is life on the outskirts of Lisbon, told by young people struggling to survive on a daily basis with the means they have, in their own way.

A couple finds themselves on a beach somewhere in Brazil, and the vultures begin to communicate with them using the dialectics of their ancestors. Vulture is the unknown other, or the humanization of the animal spectrum arising from the abstraction of the human.

It's essential to generate life, dialogue, understanding, and celebrate humanity. In times of widespread pandemic, raising questions about the preservation of democracy, the integrity of public health and our own notions of individuality, we are dragged into a process of change. 'Upheaval' is a meeting between the artist Welket Bungué, and the parliamentary politician Joacine Katar Moreira. Here, they question the essence of their crafts, making an unexpected paradigm of imminent revolution resound.

Juan (Arthus Focchi) and Djari (Welket Bungué) are foreigners who met in Rio de Janeiro and became best friends. Juan has a bad feeling, something is wrong, the wind whispers. In a conversation with Djari, Juan warns him that he will leave. Something sudden happens before he travels. Djari will have to deal with this.

Between May and June 2019 I was in Guinea-Bissau for the first time, after leaving in 1991 on my way to Lisbon when I was only 3 years old. My return to the motherland was special, profound and very cosmic. On this return, already 31 years old, I ventured into Cabral and Okinka Pampa lands. Cacheu Cuntum has in image what neither distance nor time have allowed us to understand about the perception that the Guinean-Bissauan people have about their past. The film proposes an audiovisual experience, visual or even just sonorous, of what are the various dimensions that comprise the genetics of the construction of the historical truth as opposed to the reality of the facts, which in turn should humanize and expiate those who have always been represented in place of the oppressed.

'I Am Not Pilatus' is a poetic and artistic manifesto by Welket Bungué. This film reviews the case of police brutality that occurred in Bairro da Jamaica (South Bank, Lisbon) in January 2019. That case shocked the Portuguese and the African diaspora. The film connects the case to the mobilization achieved in the march held at Avenida da Liberdade (Lisbon), an initiative of young black African descendants complaining about justice and more egalitarian rights regarding police treatment of the black population living in Portugal.

Considering the research of the Brazilian Forum of Public Security (2017), Black people in Brazil are still more than half of the population of the country. Between 2005 and 2015 the number of black people murdered increased by 18% and this also made us the majority of homicide victims, accounting for 71% of all registered bodies. 'Jah Intervention' is a symbolic walk to exhaustion. The intervention proposes the preliminary warm-up that precedes a fight of titans in a boxing ring. The intervention consists of the movement of the performer sensing the sudden fall when affected by perforations by bullets of semi-automatic weapons.

A body full of past marks heals past hurts and hides living losses. Here beats a heart invulnerable by noise, iron, and twist. Our boundaries are today more tight than ever. Who are the confined ones, who decide those you can enter or not?. Shall we deal with the migration as if it is a dead body poisoning our meekness or it is a real question that the imperial western capitalism doesn't want to answer? The question is: you'll stand to face this (un)ethical premise?.

MESSAGE is a documentary video art that acts according to aspects of the Brazilian reality. Welket Bungué places himself in the place of the self-represented subject, using the symbolic action to talk about the case of the citizen Cláudia da Silva Ferreira, a resident of the Morro da Congonha in the north zone of Rio de Janeiro, who was fatally shot by PM's (Army Police) on the morning of 16 March 2014. In a critique of disinformation, perversity and alienation as a result of today's incoherence of the media, MESSAGE is a sensitive evocative about dehumanization and perverse isolation to which peripheral communities and their residents are being victimized.

Abó danced so much that we were created and that the names of things had an essential value. And even if they were usurped, subdued, destroyed, exchanged, nothing could detract from their value. Because everything had been the fruit of a dream that had once traveled to the senses of Abó, and then to all the beings named, so that they could have value by their nature and not by what they could mean for others.

'WHO THEY ARE' is a video art film by Welket Bungué. It's a rereading of a series of three art videos filmed in a park in Berlin, are they 'V AGE NAL', 'The Climb Lady' and 'WHO THEY ARE' all looping videos shot on a hammock. The time and perspective of the individual who captures the world itself, are the main subject treated in the images.

Soho N'a is a young Guinean emigrant living in London. He lives a marriage crisis and decides to go looking for an obscurantist solution in Brazil. On the trip he is lost on an island for ten days, but with the camera of the phone he was able to record part of that trip that brought unexpected effects to him when he returned home.

In this video-performance we are facing a protected and regenerating biotope, - which, like many other territories in the world, - resists, but will inevitably have to deal with generalized deterioration. Is this a personal critique of the "global denaturing" brought about by hyper-consumerism, and wild capitalism, both perpetrated by humanity?

You can not photograph to forget. Kris Linn loves to photograph nature, but this delight has her days counted because with each passing day she will forget the places she has gone. From Dois Irmãos Hill in Rio de Janeiro to the Tiergarten Park in Berlin, Kris looks for the perfect place for perfect photography that unites the vivid impermanence of nature and the presence of her friend Mayo.