Director's Note
Portrait arises, on the one hand, from my l need to better understand the generation of the Spanish Civil War that my parents belong to. In this sense, it represents an attempt to understand their life experience, their way of seeing the world, their way of reasoning .... In this sense it also means to comprehend how their personal vision of life, reflects and conditions mine. For this reason I believe that somehow the idea of the documentary emerges as an exploratory study of my past and my roots.
Portrait
- Available to Watch, Documentaries
- 2004
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Running Time 01:23:00
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Genre Documentary - Feature Film
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Language Spanish
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Completed November 5th 2004, Portugal
Family pictures, memories, landscapes and scenes from the everyday life constitute the portrait of an attitude and a way of life. The portrait of a generation where marriage was “until death do us apart”, and a time of misery and oppression marked by the Spanish Civil War. The portrait of man and woman, father, mother and son, their worries, dreams, disappointments, experiences and feelings. The portrait of identity, origin, memory and a life like a puzzle that need's solving. Sometimes a confusing portrait, almost blurred, like memories. A portrait where facial expressions question the past, present and future, on the debate of life itself. We go round and round again but questions remain: who are we and why are we like this?
On the other hand, this film to me it represents a psychosocial and emotional analysis of being a man and a woman in the dictatorship, in a time of oppression and resignation, a time of poverty and silence. A portrait of a generation whose life choices have been severely limited by their humble social status and lack of education. This represents the reality of my parents and the parents of many people in Spain after the Spanish Civil War. From this perspective, Portrait tries to represent the point of view of the life experience of this generation through the intimate and honest portrait of my family. For this reason I decide to explore and analyse this subject from the personal perspective of ordinary, simple, unknown beings or of what Father refers too as being: “mediocre, one of many thousands“. From this prism, Portrait is also born of a need to give voice to this oppressed, forgotten and exploited generation. To provide the opportunity and the necessary space so that they can squeeze, confess, declare, without restrictions, whatever they want or need to express. It is for this reason, that when some public in festivals have asked me why did I made this film with my parents and not with other people? I answer why was I to make the film with another family but with mine? For me, in this specific case, given the subject and content, it makes no sense to seek other people to carry out this reflection and generational analysis. That would mean fleeing from the primary source of inspiration that motivates the documentary in the first place.
In the beginning of the film my mother says “I’ve never been happy”. This statement serves as a dramatic element that introduces the character, my mother and her way of seeing the world, her life. The narrative as it moves forward it will explore, debate, question and analyse the emotional and psychological content of that statement: “I have never been happy”. What does it mean “I’ve never been happy”? Is it possible for a human being to never be happy? My mother in the documentary illustrates that she was happy on several occasions: in her childhood, with her grandparents, in her adolescence and youth with her friends, with my birth and with my father.
However, my mother, when I invite her to meditate on her life, concludes that in general she does not consider that she was happy and blames my father in great measure for his unhappiness. She considers that my father did not make her happy as she wanted, imagined or idealised. The narrative also presents other reasons: my mother had no “parents” to educate her, she lived until she was eight years old with her grandparents and then she went to live and work for families with a privileged social and economic status. Until her adolescence she worked tirelessly twelve hours a day only in exchange for food and a bed to sleep. This is why my mother states in the film that she feels that she did not have a childhood, that she did not enjoy her youth. The fact is that she did not have time to play when she was a child, or to study and learn during her adolescence or to grow emotionally in a natural way. Like many others, it was the product of the exploitation and injustice that emerges from being poor, illiterate and also a woman. This sociocultural violence characterised the lives of many separated families, disintegrated by the misery and oppression resulting from the Spanish Civil War. This life experience provoked an indescribable frustration. Portrait represents an intimate and honest psychosocial and emotional analysis of the life experience of this humble generation. I present this portrait through the personal chronicle of my parents’ life, my life, and using their own words addressed to me directly. The narrative aims to create a oneiric and circular time space where the present and the past merge into one. A space for self-reflection where my parents and I can discuss, remember and think about our lives. And through this triangular meditation represent and give voice to that generation that results from the Spanish Civil War.
For this reason I decided to shoot the film in black and white in order to compress and merge the present and the past in a single space and time. In this sense, black and white aims to provide the same visual quality to the image represented by the past and the present.The idea is that all the images have the same aesthetic value to evoke a visual fusion of the present with the past.
The objective is precisely (and reinforced by black and white as an element that unifies the plasticity of the image), to fuse and approximate the past to the present and vice versa: to bring photographs from the past to the present and to transport images from the present to the past. On the other hand, the construction of the narrative synthesises and concludes “physically” this temporal union by presenting sequences of images and sounds referring to the past and the present, together, as if both contents belonged to the same space and time. This fusion aims to create a common, motionless and timeless space of meditation and debate to analyse and portray from a psychosocial and emotional perspective this humble generation product of the Spanish Civil War.
About The Director:
Carlos Ruiz Carmona is a Spanish-Portuguese filmmaker and producer working at the intersection of documentary and fiction. Over the years, he has developed a unique cinematic language defined by attention to detail and visual sensitivity. His career is rooted in auteur cinema and independent contexts, spanning Portugal, Spain, and the UK, where he explores narratives of intimacy, marginality, and human conflict. His debut feature, To Anyone Who Can Hear Me (1999)—produced during his MA at the University of London and screened in London and Spain—gained significant acclaim, winning the Grand Prix for Best Fiction and the International Critics’ Prize at the Figueira da Foz Film Festival.
This debut established an early approach characterized by emotional restraint and a strong poetic dimension. Since then, he has built a consistent body of work, with films circulating through independent cinemas, cinematheques, film societies, and alternative platforms, including VOD. Notable highlights include Retrato (2005), named Best Spanish Feature at DocumentaMadrid and screened internationally in cities such as Moscow, Shanghai, and Rome; Raízes (2010), winner of the Bracara Augusta Award; and CRU (2018), a long-term observational project that premiered at DOK Leipzig and received an award at the Avanca Film Festival. His latest feature, O Céu em Queda (The Waning Sky, 2024), has travelled the international circuit (Girona, Salerno, RIFF). The film received the “Outros Olhares” Honorable Mention at Caminhos do Cinema Português and, in 2025, was awarded Best Art House Film at the Melbourne Underground Film Festival. Following its festival run, the film reached commercial distribution, opening in cinemas in 2025. Shunning grand gestures, Ruiz Carmona’s work asserts itself steadily within a territory where cinema is built with time, freedom, and a deep personal dimension—remaining faithful to an independent spirit and a keen observation of the world around him.
Awards
- Award City of Madrid Madrid for Best Spanish Feature Film At the International documentary Festival of Madrid May 2005.
- Special Mention at the International documentary Festival of Tui. Pontevedra. Espanha. March 2006.
- Best Director at International Cinema Festival Braga Cine. Braga. Portugal.
Festivals
- World Premier: International Documentary film festival of Taiwan. December 2004
- International Premier: International Documentary film festival of Madrid – Documenta Madrid. May 2005.
- National Premier: International Documentary film festival of Lisboa DocsLisboa. Portugal. October 2005.
- International film festival of Ankara. Turkey. May 2005
- International Documentary film festival of Roma. Italy. June 2005
- International Documentary film festival of Cádiz. Spain. June 2005
- International Independent film festival of Braga – Braga Cine. Portugal. November 2005
- International Documentary film festival of Helsinski. Finland. January 2006
- International Documentary film festival of Tui. Pontevedra. Spain. March 2006.
- International Documentary film festival of Sur. Docusur. Canary Islands. Spain. October 2006
- International film festival of Mexico (26 FMX). Mexico. August 2010
- International Independent film festival Il Kino (RIFF). Roma. Março 2012
CAST AND CREW
Cast
Ana Carmona Carrillo
Rafael Ruiz Guillén
Carlos Ruiz Carmona
Writer and Director
Carlos Ruiz Carmona
Producer
Carlos Ruiz Carmona
Director Of Photography
Carlos Ruiz Carmona
