Maya Kosa

Une vieille dame au fort tempérament, sa femme de ménage Cap-Verdienne et sa voisine dévouée à de bonnes causes partagent le même étage d’un immeuble à Lisbonne. Lorsque la première meurt, les deux autres prennent connaissance d’un épisode de son passé : une histoire d’amour et de crime dans une Afrique de film d’aventures.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

Elsa returns to her homeland, Caldas da Rainha, in Portugal to meet her mother. Through this little adventure, we discover the city and the mysterious activities of its inhabitants, as well as elements of Elsa's family history. A crossed impressionist portrait is woven, temporalities become confused, and dreams mingle with reality.

'The Temptation of Saint Anthony' is a triptych by the Dutch painter Hieronymus Bosch, exhibited in the National Museum of Ancient Art in Lisbon. In a visionary manner, it reproduces the temptations of the holy man in the desert by playing with the religious allegory, the mystical symbols of his age and the popular taste for illustration. More than a real image, it is a mental image. This mental image, which transforms very quickly into imagination, is therefore the subject of 'Anthony, the Invisible One', in which a guide presents the famous painting to three different audiences: sighted people, blind people, and a deaf and blind man.