Original name: Diamantino
English name: Diamantino
Run time: 92'
Type (Colour/ Black & White): Colour
Country: Portugal, France, Brazil
Director: Gabriel Abrantes, Daniel Schmidt
Producer: Justin Taurand, Maria João Mayer, Daniel Van Hoogstraten
Cast: Carloto Cotta,Cleo Tavares ,Anabela Moreira,Margaret Moreira ,Carla Maciel ,Filipe Vargas ,Manuela Moura Guedes ,Joana Barrios Maria Leite.
Screenplay: Gabriel Abrantes, Daniel Schmidt
Cinematographer: Charles Ackley Anderson
Editor: Raphaëlle Martin-Holger, Gabriel Abrantes, Daniel Schmidt
Sound Designer: Olivier Blanc ,Daniel Turini ,Fernando Henna, Benjamin Viau
Music Composer: Ulysse logs ,Adriana Holtz
Production Designer: Bruno Duarte
Production Company: Les Films du Bélier, Maria & Mayer, Syndrome Film
World Sales: Charades
World Sales Phone: +33 6 20 36 77 72
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Gabriel Abrantes, and Daniel Schmidt are both American directors (Portuguese/American for Gabriel) who independently made many award-winning short films screened in New York Lincoln Center, BAFICI, Venice Biennale and Locarno. Together they have worked on a short film A History of Mutual Respect (2010) which won award at Locarno IFF, and a middle length feature Palaces of Pity (2011). Diamantino (2018) is their first full length feature film collaboration. It received screenings, and awards at festivals like Cannes, Toronto, BFI London, and many others.
Diamantino, Portugal’s (the world’s!) top football player, is gloriously dumb and sweet-hearted. However, his footie genius has a strange manifestation – every time he faces the goal, his vision fills with giant fluffy puppies bounding through pink powder. When an encounter with some refugees suddenly throws sadness into his previously unblemished psyche, he is left with a profound desire: fatherhood. Mix in some lesbian secret police investigating offshore accounts in Panama, a nationalistic plot to get Portugal to leave the EU, along with Diamantino’s psychopathic twin sisters and you have a satire that’s queer, contemporary and fantastically good fun. In short, a joyful postmodern political fantasy.