{"id":14493,"date":"2025-08-04T20:24:00","date_gmt":"2025-08-04T20:24:00","guid":{"rendered":"https:\/\/nsf.pt\/?p=14493"},"modified":"2025-08-04T20:24:02","modified_gmt":"2025-08-04T20:24:02","slug":"kora","status":"publish","type":"post","link":"https:\/\/nsf.pt\/index.php\/2025\/08\/04\/kora\/","title":{"rendered":"Kora"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">A melhor curta portuguesa<\/h2>\n\n\n<div class=\"wp-block-post-date\"><time datetime=\"2025-08-04T20:24:00+00:00\">4 de Agosto, 2025<\/time><\/div>\n\n\n<h3 class=\"wp-block-heading\">A Manuela Matos Monteiro anda pelos festivais de cinema, document\u00e1rios, curtas&#8230;., no caso em Melga\u00e7o na 11\u00aa edi\u00e7\u00e3o do MDOC. Aqui ficam os seus apontamentos esclarecedores e marcados pela sua habitual sensibilidade est\u00e9tica.<\/h3>\n\n\n\n<p>por <a href=\"https:\/\/www.facebook.com\/manuelamatosmonteiro\">Manuela Matos Monteiro<\/a><\/p>\n\n\n\n<p>\u201cKora\u201d (2024), de <a href=\"https:\/\/www.facebook.com\/claudiavarejao?__cft__[0]=AZU5xRa43yFJfvfTNiz6Taw26bPYJDhBwPDBe46zp_8rD7PFcvlflwaDzfLwDr66LjHiDRRS_NY-ytcnwS7ShRh_6YbgjJZK6I2dhk3lKusNNYZK8Y_VmgqHZms0WAC03HiD78c3Q0sWBSSjoHiZxOpSKfGsoJ18WfuPQs5thGsPRQ&amp;__tn__=-]K-R\">Cl\u00e1udia Varej\u00e3o<\/a>, \u00e9 uma curta-metragem documental com pouco menos de 30 minutos que tra\u00e7a as viv\u00eancias \u00edntimas e pol\u00edticas de mulheres refugiadas que vivem agora em Portugal. A preto e branco, o filme acompanha cinco mulheres \u2013 Inna, da Ucr\u00e2nia, Norina, do Afeganist\u00e3o, Zohra, do Sud\u00e3o, Margarita, da R\u00fassia, e Lana, da S\u00edria \u2013, que se amarram \u00e0s fotografias dos familiares e amigos que ficaram nos seus pa\u00edses de origem.<\/p>\n\n\n\n<p>A partir das fotografias em voz off, o filme desenvolve uma narrativa partilhada a assumir a forma de um manifesto contra a guerra e contra a discrimina\u00e7\u00e3o das mulheres.<\/p>\n\n\n\n<p>\u00c9 um filme que recorre a uma est\u00e9tica s\u00f3bria, minimalista em que domina a palavra acompanhada pelo piano. Juntas, as falas destas mulheres produzem um &#8220;texto&#8221; em que est\u00e3o convocadas as grandes quest\u00f5es da humanidade associadas \u00e0 perten\u00e7a, mem\u00f3ria e identidade.\u00c9 um filme que d\u00e1 voz a uma situa\u00e7\u00e3o que se vive em Portugal e em tantos outros pa\u00edses, portanto, um filme oportuno e comprometido.<\/p>\n\n\n\n<p>Todo o merecimento o pr\u00e9mio Jean Loup Passek da melhor curta metragem portuguesa na 11\u00aa edi\u00e7\u00e3o do <a href=\"https:\/\/www.facebook.com\/mdocfestival?__cft__[0]=AZU5xRa43yFJfvfTNiz6Taw26bPYJDhBwPDBe46zp_8rD7PFcvlflwaDzfLwDr66LjHiDRRS_NY-ytcnwS7ShRh_6YbgjJZK6I2dhk3lKusNNYZK8Y_VmgqHZms0WAC03HiD78c3Q0sWBSSjoHiZxOpSKfGsoJ18WfuPQs5thGsPRQ&amp;__tn__=-]K-R\">MDOC &#8211; Festival Internacional de Document\u00e1rio de Melga\u00e7o<\/a><\/p>\n\n\n\n<div style=\"height:33px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">KORA de Cl\u00e1udia Varej\u00e3o (2024) \u2013 trailer<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"KORA de Cl\u00e1udia Varej\u00e3o (2024) \u2013 trailer\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/OF3yBvQ24as?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>A melhor curta portuguesa A Manuela Matos Monteiro anda pelos festivais de cinema, document\u00e1rios, curtas&#8230;.,&#8230;<\/p>\n","protected":false},"author":2,"featured_media":14494,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[451,459,238],"tags":[632],"featured_image_urls":{"full":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",917,517,false],"thumbnail":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-150x150.jpg",150,150,true],"medium":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-300x169.jpg",300,169,true],"medium_large":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-768x433.jpg",640,361,true],"large":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",640,361,false],"1536x1536":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",917,517,false],"2048x2048":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",917,517,false],"covernews-slider-full":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",917,517,false],"covernews-slider-center":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-800x500.jpg",800,500,true],"covernews-featured":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot.jpg",917,517,false],"covernews-medium":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/nsf.pt\/wp-content\/uploads\/2025\/08\/korafot-400x250.jpg",400,250,true]},"author_info":{"info":["Carlos Ribeiro"]},"category_info":"<a href=\"https:\/\/nsf.pt\/index.php\/category\/artes-e-cultura\/\" rel=\"category tag\">ARTES E CULTURA<\/a> <a href=\"https:\/\/nsf.pt\/index.php\/category\/curtas\/\" rel=\"category tag\">CURTAS<\/a> <a href=\"https:\/\/nsf.pt\/index.php\/category\/destaque\/\" rel=\"category tag\">DESTAQUE<\/a>","tag_info":"DESTAQUE","comment_count":"0","_links":{"self":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14493"}],"collection":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/comments?post=14493"}],"version-history":[{"count":1,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14493\/revisions"}],"predecessor-version":[{"id":14495,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/posts\/14493\/revisions\/14495"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/media\/14494"}],"wp:attachment":[{"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/media?parent=14493"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/categories?post=14493"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nsf.pt\/index.php\/wp-json\/wp\/v2\/tags?post=14493"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}