Sara is an artist, a woman that refuses to let go of her dreams, that refuses to resign. She is starving for life and experience. She is struggling to survive in this instable Europe of the beginning of the 21st tcentury. “UM FILME SEM CÂMARA / A FILM WITHOUT CAMERA” is a picture of a generation called “geração à rasca” (precarious generation), between 25 and 40 years old Portugueses, born after the 1974 revolution, highly qualified, who cannot survive with dignity in their own country but have decided to build their life with rules of their own. 



Sara is a film director born with the carnation revolution, freedom and democracy. She directed two films that went to international film festivals. For three years now, she can’t get any money to direct her films and she barely make a living, writing articles and making translations.

She has a 3 years old child, Dinis, that she loves above all things. She lives alone. Separated over a year from the father of her child, Francisco, a musician, she has a relation of conflict with him. She can’t hear anymore about the crisis, always the excuse of producers, foundations and everyone from whom she tries to get financial support. Sara needs to survive, to support her son. She needs to work and to direct films.

For her, there is only one path to escape from death: to create. To direct films is a vital need, but also political, social and, mainly, existential.

Her best friend, Graça, is an artist. She is getting blind. The thought of becoming blind gets Sara in despair. Sara feels paralysed.

Graça was invited to exhibit in a Modern Art Centre and asks Sara to make a video of the main piece of the exhibition. She will be blind in the opening day, so she wants Sara to be her eyes.

Everything is collapsing around Sara. She puts everything at stake.

She starts to film her friend, as if filming her could save Graça from her blindness, from the darkness.

One day, Sara meets António, an actor and theatre director from Lisbon that loves Andy Warhol. António invites Sara to make pornographic films. She accepts for the subversion, for the fun and for the perversity. It’s cheap movies – they only need the actors and a camera. They decide, conscientiously, to analyse their limits trying at the same time to overcome it. Sara is convinced that the future’s big question isn’t the sexual limits, but the identity and the issues it invokes. She wants to subvert the sexual identities in her movies. Taking this chance, Sara opens the Pandora’s box.

Meanwhile, André, Sara’s old friend, arrives from his 6 years absence in Berlin. He moves temporarily to Sara’s home. André creates a Film Club in unconventional spaces, where he exhibits alternative films – his own “artistic terrorism”.

To make that movie and to understand herself, Sara does filmed interviews to her prostitute neighbours. She meets Susy and there is an immediate empathy between them. They become friends. From the result of the interviews, Sara decides to make a documentary.

Sara lives as she directs, with the ferocity of her age. She struggles for survival. Seeing her dreams becoming impossible, she struggles against the impossibility by creating.

Her dreams, her vision, her way of seeing things and her impulse to create are the things she believes that no one can take away from her. “The struggle for a better life is won by making it and showing it.”

Sara directs without means, putting at stake her own artistic principles, destroying it and looking, in despair, for new paths that she doesn’t know where will lead.

As in life, “In art there is only one option: the one that exists”, Glauber Rocha.


“Um filme sem câmara / A film without camera”

is an autoproduced movie.

It has been filmed and edited but needs your support to be finished and released. DONATE.


“It is likely that the unlikely can occur”


1th part 

"I’m an Portuguese filmmaker born with the carnation revolution, freedom and democracy. 

In Portugal with the intervention of "troika" (FMI,BCE, EU), the european policies of austerity implemented by the actual government extinguished the ministry of Culture. The Ica (Institute of Cinema and Audiovisual) is paralyzed with the budgetary cuts. The crisis is always the excuse used in history to eliminate the artist and their work. No art gives the measure of the culture and the freedom as the cinema”. (Walter Silveira).


Sara de Castro

Paula Marques

Gustavo Vicente

Miguel Moreira

André Soares

Ana Brandão

Almeno Gonçalves Susana Vidal

Sofia Marques

Ivo Ferreira

Ana Moreira

Dinis Nogueira Freire

Margarida Almeida

Nicola Brites

Romeu Costa

Pedro Cal

Vasco Freire

Rui Amália



written, directed & produced

by Raquel Freire


Tomás Rezende


Edgar Medina,

Vasco Pimentel

direction assistance

Edgar Medina


Sérgio Brás d’Almeida

set decoration

Raquel Castro


Helena Alves,

Cedric Zoen, Siegfried,

Valérie Mitteaux


Ana Brandão | Carlos Bica

Space Cowboys

What is a people without culture, without art, without identity? A slave people. A people who doesn’t live, only survives. No one can live without art.

If we artists are forced to stop creating our culture, if the people culture and art cannot be alive anymore, we are as people condemned to death.Artists in Portugal are struggling to survive. Our creative work is becoming impossible. 

For me, not to film is not an option.

"I film, therefore I am". for me to film is a vital necessity, but also politics, social e, mainly, existential. 

They can take you away everything: the freedom, the life, the comfort, everything but the capacity of dreaming, the point of view,  the impulse of artistic creation. 

As an artist, I refuse to give up.

2nd part 

To film I had that to choose radical techniques of survival. 

I tried to obtain financing to make a film. I did not find any financial supports. I was confronted everyday with the impossibility to continue to make films. It was of this impossibility that I made “Um filme sem câmara”: I fight against this impossibility by filming a docfiction about this impossibility.

I introduced elements of fiction in mine and some friends daily life. we are the children of a dream of Europe of social progress that the generations before us had constructed and that now it is denied. It is this sacrificed generation of  well educated, precarious young adults doctorates that I challenge to make this film.  Under the mixed form of fiction and set of documentary: I film them and I film myself (in the form of an actress that represents me) during 2months.  

After several attempts I obtained through a foundation money to buy material to film when i propose to make a documentary about my friens in "A film without camera" that were theater directors - scene that we see in the film. 

At the beginning of this film, we see Sara, main character, writing a scene of a film and at the same time that she writes, the reality exceeds her and she's is in this limb between the reality and the fiction. This is how this film was born.

The editing of this documentary was made in the studio where we see Sara editing a film in “Um filme sem câmara”.

The list is interminable.

There isn't a scene in this film that not is not pure docufiction.

 I survive to my own impossibility to film through filming it in a docfiction.