Twelve years, six countries, one recurring question: what does it look like when nobody's performing for the camera? Based in Lisbon, working everywhere.
A short list from eleven years of work — features, shorts, and photo essays for outlets and independent release.
I set out to ask better questions than the news cycle allows — and a camera turned out to be the most honest way to sit with someone long enough for the real answer to show up.
My work has screened at Visions du Réel and IDFA, and been commissioned by outlets who mostly leave me alone to shoot it my way. That trust is the whole business model.
These days I take on two to three commissions a year, alongside my own long-form projects. If a story needs six months of trust-building before the camera comes out, I'm probably the right person to call.
On the ethics of filming grief you weren't invited to witness — and the one rule I never break.
Why I still shoot on a single prime lens. Constraint isn't a limitation, it's a second collaborator.
Six months embedded with a fishing crew taught me more about pacing a film than any edit suite.
I read every email myself. Tell me the story, the timeline, and why it has to be told now.