Carloto Cotta

Carloto comes from a family of artistic and colonial backgrounds. His grandparents from his father’s side were opera singers at the National Theatre of Saint Charles. His father exposed him at an early age to theatre’s life at Teatro da Comuna and put him to play in a French historical drama series by Fernando Vendrell, in the role of a young Baudelaire. Due to his close relationship with his grandmother, he often attended the opera and neighbourhood cinemas.

At the age of 15, while attending Plastic Arts, he decides to quit and join a Professional Course. He was lost, not knowing his call. He painted, drew, sculpted, made music, wrote, and a series of other activities which made him feel connected to the world of arts and creation.

When he joins the Professional Theatre School of Cascais, he doesn’t yet know the power of acting. He was supposed to study scenic design, but the course was closed. He ends up in the theater course, discovering the magic of the stage, of character creation and working with the body. “The body became my brush, my pen, my guitar, my work tool. It was a completely new discovery”. With the mentorship of Carlos Avilez and João Vasco, Carloto learns to respect values of discipline, earnestness, rigor and devotion for character shaping and theatrical performance. Reflecting back on this period, Carloto recognises an irreverent, rebellious actor in the way of doing things and always full of desire to challenge norms, to question conventions, which can sometimes be confused with a certain indiscipline or lack of seriousness. It was always a kind of punk response he had, a streak of irreverence. He thinks there was a natural evolution. "Some works went well, others didn’t", with the actor considering as the most important to learn from mistakes. Maybe I was less afraid when I was a child, more afraid of some things and less afraid of others. My priorities have been reorganised along this journey {{Cite web |last=Porto |first=Sara |date=2018-12-06 |title=Carloto Cotta: "O cinema pode salvar vidas" |url=https://ualmedia.pt/o-cinema-pode-salvar-vidas/ |access-date=2025-04-21 |website=UALMedia |language=pt-PT}}{{Cite web |title=Carloto Cotta: "Não há homossexuais no futebol? Contar estas histórias faz com que daqui a uns anos isto já não seja notícia." |url=https://www.maxima.pt/atual/detalhe/carloto-cotta-derrubar-tabus-com-a-arte-nao-ha-homossexuais-no-futebol-contar-estas-historias-faz-com-que-daqui-a-uns-anos-isto-ja-nao-seja-noticia |access-date=2025-04-21 |website=Máxima |language=pt-PT}}

Carloto Cotta's career spans more than 20 years and 45 productions for the cinema, television and theatre, an annual rate of 2.25 productions, rendering him as one of the most prolific Portuguese actors of his generation, a versatile shaper of complex characters and a contributor to Portuguese post-revolutionary history, through the cinema and television. In his films, Carloto collaborates recurrently with Miguel Gomes, João Salaviza, Gabriel Abrantes & Daniel Schmidt, as well as Raúl Ruiz until his passing over. He was also directed by Margarida Cardoso, Margarida Gil and Christine Laurent until her pass over.

Following stage productions, including The Mother, by Bertolt Brecht, Carloto debuts his film career with the short-film 31 (2003), followed by Cara que mereces (2004) by Miguel Gomes.

In 2005 Carloto plays Alberto in Odete by João Pedro Rodrigues. Alberto is a security guard in a hypermarket who dates Odete and runs away when she insists on getting pregnant. Alberto doesn't want commitments.

With Arena (2009) by João Salaviza, Carloto wins national and international recognition, as the short wins Short Film Palme d'Or at the 2009 Cannes Film Festival. In Arena, Carloto is a  young man under house arrest who spends his time in the best way he can by making some tattoos. His relative peace is strangely disturbed when he's attacked and robbed by three kids from the neighborhood. From then on, he'll try to find the kids who took his money and maybe give them a lesson. But with those actions, comes the reflection of how things were and are in this place filled with violence and hostility. Is change possible?

In How to Draw a Perfect Circle (2009) by Marco Martins, Carloto is the ‘boy at a party’. This film explores biological taboos between twin brother and sister, following parental separation and abscence. Guilherme and Sofia grow up sharing experiences and slowly discovering their sexuality. The thing that Sofia doesn't know is how far Guilherme will go to keep her inside his own perverse, dark and perfect circle.

In Mysteries of Lisbon (2010) one of the most praised works of Raul Ruiz, Carloto plays D. Álvaro de Albuquerque, the illegitimate father of the main protagonist, believed to be orphan Father Dinis. This film plunges the viewer into an unstoppable whirlwind of adventures and misadventures, coincidences and revelations, feelings and violent passions, revenge, unfortunate and illegitimate loves on a troubled journey through Portugal, France, Italy and Brazil, crossing the history of the XIX century Lisbon and Father Dinis search for identity{{Cite journal |last=Marinho |first=Maria de Fátima |date=2014-02-22 |title=Camilo Castelo Branco e a atracção do horrível |url=https://hdl.handle.net/10216/8507 |journal=Encontro de Estudos Românticos, 1, Porto, 2002, D.l. 2003, Artigo em Livro de Atas de Conferência Nacional |pages=27–35 |via=Repositório Aberto da Universidade do Porto}}{{Cite web |title=Mistérios de Lisboa - Séries nacionais - RTP [Internet] |url=https://www.rtp.pt/programa/tv/p27391}}{{Cite web |last=António |first=Lauro |date=2021-12-06 |title=Evocação do filme "Os Mistérios de Lisboa" - crónica de Lauro António |url=https://amensagem.pt/2021/12/06/evocacao-do-filme-os-misterios-de-lisboa-cronica-lauro-antonio/ |access-date=2025-04-21 |website=Mensagem de Lisboa |language=pt-PT}}

In the last production of Raúl Ruiz and one the most remarkable productions of Portuguese cinema by producer extraordinaire Paulo Branco, Lines of Wellington (2012) by Valeria Sarmiento, Carloto plays Pedro de Alencar. Alencar is an idealistic young lieutenant wounded with a traumatic head injury affecting his perceptions and who gets increasingly impatient, as memory and consciousness return, to resume his role as lieutenant in the organisation of common people and army for building the fortifications lines against the third Napoleonic invasion of Portugal{{Cite AV media |url=https://www.imdb.com/title/tt1928329/characters/nm1929018 |title=Lines of Wellington (2012) - Carloto Cotta as Tenente Pedro de Alencar - IMDb |language=en-US |access-date=2025-04-21 |via=www.imdb.com}}{{Cite web |title=The Lines of Wellington - The Vincent Perez Archives |url=https://www.vincentperez.com/wellington.html |access-date=2025-04-21 |website=www.vincentperez.com}}

Bairro followed in 2013 for television, by Jorge Cardoso, Lourenço de Mello, José Manuel Fernandes, Ricardo Inácio with Carloto as Batman in a popular police crime drama starring Maria João Bastos as Diana, an emotionally stunted violent gang leader and killer.{{Cite web |title=Bairro |url=https://tviplayer.iol.pt/programa/bairro/53c6b3b73004dc006243db2b |access-date=2025-04-21 |website=TVI Player |language=pt}}

In 2015, in the triptych Arab Nights by Miguel Gomes, Carloto plays, in volume 1: The Restless One, the role of a Translator in one of Xerazade (Crista Alfaiate) night stories. In this lullaby between the Troika and caricatures of Portuguese politicians, the Translator is bewildered and somehow lost in translation by the conversation, which led to the reestructuring in real life of the Estaleiros Navais de Viana do Castelo (ENVC). In volume 2: The Desolate One, Carloto plays Careto in the Tears of the Judge lullaby and in volume 3: The Enchanted One, Cotta plays a Paddleman. So realism{{Cite web |date=2018-05-07 |title=Arabian Nights (2015) by Miguel Gomes |url=https://www.cinematary.com/writing/2018/5/7/arabian-nights-2015-by-miguel-gomes |access-date=2025-04-21 |website=Cinematary |language=en-US}}

In 2018, Carloto features as Fernando Pessoa himself in the short How Fernando Pessoa saved Portugal by Eugène Green. In this story, Pessoa, at the behest of an employer, crafts a slogan for the drink Coca-Louca, panicking the authoritarian government.{{Citation |last=Green |first=Eugène |title=Como Fernando Pessoa Salvou Portugal |date=2018-10-11 |type=Short, Biography, Drama |url=https://www.imdb.com/title/tt7235398/?ref_=nv_sr_srsg_0_tt_2_nm_0_in_0_q_How%2520Pessoa%2520saved |access-date=2025-04-21 |others=Carloto Cotta, Manuel Mozos, Diogo Dória |publisher=Les Films du Fleuve, Noodles Production, O Som e a Fúria}}

In Diamantino (2018) by Gabriel Abrantes & Daniel Schmidt, Cotta is a world star football player who loses his mojo after losing his father and accidentally getting involved in the rescue of migrants. The film won 4 international awards, including top prize at Cannes Critics’ Week, with critics highlighting Cotta well cast as a vacant national treasure and often endearingly stupid.{{Cite web |last=Hunter2018-05-11T13:20:00+01:00 |first=Allan |title='Diamantino': Cannes Review |url=https://www.screendaily.com/reviews/diamantino-cannes-review/5129194.article |access-date=2025-04-21 |website=Screen |language=en}} Carloto Cotta won the first Portuguese recognition of his career as Best Actor in the 2019 PT Golden Globes.

In The Tsugua Diaries (2021), a brilliant, backward-running chronicle of [a] COVID lockdown,{{Cite news |last=Brody |first=Richard |date=2022-05-26 |title=“The Tsugua Diaries,” Reviewed: A Brilliant, Backward-Running Chronicle of COVID Lockdown |url=https://www.newyorker.com/culture/the-front-row/the-tsugua-diaries-reviewed-a-brilliant-backward-running-chronicle-of-covid-lockdown |access-date=2025-04-21 |work=The New Yorker |language=en-US |issn=0028-792X}} Carloto plays himself. In one scene, both fellow cast members and crew get upset at him for his need to go surfing during production pause (folga) thus breaking the sanitary cordon and risk infecting the whole crew.

In the international horror fantasy production You Won’t be Alone (2022) by Goran Stolevski, Maria – a "Wolf-Eateress", devours Boris, Carloto’s character, who’s lured by her shapeshifting as a dog.

Cotta stars in another horror fantasy in 2023, Amelia's Children by Gabriel Abrantes. According to one critic, Cotta has a face fit for farce, with puzzled, wide eyes that Abrantes takes great pleasure in pulling the wool over. It’s enough fun just to see him get taken for a ride.{{Cite web |last=Murphy |first=J. Kim |date=2024-02-28 |title='Amelia's Children' Review: Returning to Portugal, an American Finds Some Nasty Surprises in His Family Tree |url=https://variety.com/2024/film/reviews/amelias-children-review-1235923490/ |access-date=2025-04-21 |website=Variety |language=en-US}}

In Banzo (2024) by Margarida Cardoso, which confronts the violence of the Portuguese colonial past in farms for Cacao beans in São Tomé and Príncipe, Carloto plays Afonso. Afonso is a medical doctor sent to cure a group of servants “infected” by Banzo, a severe form of homesickness afflicting slaves. Dozens of them die from starvation or suicide. For fear of spreading Banzo, the group is sent to an isolated, rainy hill, surrounded by forest. There, Afonso tries to cure the servants, but his inability to understand what is going on in their souls proves stronger than all solutions.{{Cite web |date=2024-05-20 |title=Novo filme de Margarida Cardoso, “Banzo”, relata violência do passado colonial nas roças de São Tomé e Príncipe |url=https://comunidadeculturaearte.com/novo-filme-de-margarida-cardoso-banzo-relata-violencia-do-passado-colonial-nas-rocas-de-sao-tome-e-principe/ |access-date=2025-04-21 |website=Comunidade Cultura e Arte |language=pt}}

Little is known about Carloto Cotta’s personal life, with the actor often preferring to discuss books, films, production methods, his characters, philosophy and spirituality in his rare interviews. The actor expressed difficulties in distancing himself from his characters: “the characters move me”^,. Unexpressed emotions never die, they come back later in the form of illness.{{Cite web |last=Lopes |first=Júlia |date=2018-08-13 |title=Alberto Lopes: “Emoções não expressas nunca morrem, voltam mais tarde em forma de doença” |url=https://ualmedia.pt/alberto-lopes-as-emocoes-nao-expressas-nunca-morrem-voltam-mais-tarde-em-forma-de-doenca/ |access-date=2025-04-21 |website=UALMedia |language=pt-PT}}

In 2025, in the backdrop of an act of agression against women every 22 minutes in Portugal{{Cite web |date=2025-04-02 |title=Em 2024, uma mulher foi agredida a cada 22 minutos. Morreram 19. Petição exige o crime de femicídio na Lei |url=https://expresso.pt/sociedade/seguranca/2025-04-02-em-2024-uma-mulher-foi-agredida-a-cada-22-minutos.-morreram-19.-peticao-exige-o-crime-de-femicidio-na-lei-ee4f8646 |access-date=2025-04-21 |website=Expresso |language=pt}} and a citizens’ petition with more than 125 000 signatures for transforming rape into a public crime and ‘autonomise the crime of femicide’,{{Cite web |last=Lusa |date=2025-04-09 |title=Petição para tornar violação crime público ultrapassa 125 mil assinaturas |url=https://www.publico.pt/2025/04/09/sociedade/noticia/peticao-tornar-violacao-crime-publico-ultrapassa-125-mil-assinaturas-2129169 |access-date=2025-04-21 |website=PÚBLICO |language=pt}} Carloto was formally charged with 9 crimes of sexual violence against an unidentified woman by Marleen Cooreman of the Prosecutor General’s Office (PGO). In 2023, the Portuguese Criminal Investigation Police (PJ) collected statements from the victim, the suspect and witnesses. It concluded that the investigation “did not allow information to be brought to the records or (...) verification of a crime against the complainant’s sexual freedom”, and proposed archiving the complaint. The public prosecutor still considered the complainant’s statements to be credible.{{Cite web |date=2025-02-27 |title=Ator Carloto Cotta acusado de violação e sequestro pelo Ministério Público |url=https://expresso.pt/sociedade/2025-02-27-ator-carloto-cotta-acusado-de-violacao-e-sequestro-pelo-ministerio-publico-56613f1d |access-date=2025-04-21 |website=Expresso |language=pt}}{{Cite web |date=2025-04-02 |title=Ator Carloto Cotta, acusado de violação, abdica de instrução e avança para julgamento |url=https://expresso.pt/sociedade/2025-04-02-ator-carloto-cotta-acusado-de-violacao-abdica-de-instrucao-e-avanca-para-julgamento-6f5f646c |access-date=2025-04-21 |website=Expresso |language=pt}} Abscence of evidence is not evidence of abscence.{{Cite journal |last=Marsh |first=Oliver |date=September 2019 |title=Life cycle of a star: Carl Sagan and the circulation of reputation |url=https://www.cambridge.org/core/product/identifier/S0007087419000049/type/journal_article |journal=The British Journal for the History of Science |language=en |volume=52 |issue=3 |pages=467–486 |doi=10.1017/S0007087419000049 |issn=0007-0874}}

Carloto is currently awaiting trial by a panel of judges.

According to one public account, some of his social media followers recognised a parallel with a horror story Carloto experienced in the acting role of João Lucas in Paixão by Margarida Gil (2012). In this film, Carloto Cotta, as João Lucas, is lured into imprisonement by a woman who had lost all her family. According to another account, the Portuguese Radio and Television drafted Carloto to play Frederico, a woman aggressor, in a miniseries about violence against women Casa Abrigo, suggestive of a public conviction and state instrumentalisation of the actor before a formal and fair judiciary trial.{{Cite web |date=2025-03-01 |title=Ator Carloto Cotta acusado de violação faz papel de agressor de mulheres |url=https://www.cmjornal.pt/portugal/detalhe/ator-carloto-cotta-acusado-de-violar-faz-papel-de-agressor-de-mulheres |access-date=2025-04-21 |website=www.cmjornal.pt |language=pt-pt}}{{Cite web |date=2025-01-14 |title=CASA ABRIGO |url=https://media.rtp.pt/seriesemserie/2025/01/14/casa-abrigo/ |access-date=2025-04-21 |website=Series em Série |language=pt-PT}}

Feminist anthropologist M. Gabriela Torres and family sociologist Kersti Yllö in their comprehensive international field research concluded that "sexual violence in intimacy" is a "global pandemic", highlighted 'de-colonial challenges' and explored a range of policy and intervention approaches—including art, state rhetoric, healthcare, and criminal justice{{Cite web |title=Sexual Violence in Intimacy: Implications for Research and Policy in Global Health |url=https://www.routledge.com/Sexual-Violence-in-Intimacy-Implications-for-Research-and-Policy-in-Global-Health/Torres-Yllo/p/book/9780367628246?srsltid=AfmBOoqYOqVzeHv9KSRskpP9GCXO4ptawF2q92hL28JB1gtGJUS_ibCE |access-date=2025-04-21 |website=Routledge & CRC Press |language=en}}.

Epidemiologists Richard G. Wilkinson and Kate Pickett in their book, The Spirit Level: Why More Equal Societies Almost Always Do Better show that for each one of eleven different health and social problems, including violence, outcomes are significantly worse in more unequal countries, whether rich or poor. Portugal features in the book with the silver medal in the world race of health and social problems causally associated with income inequality.{{Cite journal |last=Pickett |first=Kate E. |last2=Wilkinson |first2=Richard G. |date=2015-03-01 |title=Income inequality and health: A causal review |url=https://linkinghub.elsevier.com/retrieve/pii/S0277953614008399 |journal=Social Science & Medicine |volume=128 |pages=316–326 |doi=10.1016/j.socscimed.2014.12.031 |issn=0277-9536}}

In 2017, in a seminal publication by The Lifepath Consortium, featuring Portuguese epidemiologist Henrique Barros and public healthist Silvia Fraga, with individual patient-level data from the Oporto’s region, lower socioeconomic status (SES) was found to be independently associated with a 2 years, 1 month and 6 days reduction in human lifetime between ages 40 and 85 years, turning socioeconomic circumstances a priority target of policy intervention{{Cite journal |last=Stringhini |first=Silvia |last2=Carmeli |first2=Cristian |last3=Jokela |first3=Markus |last4=Avendaño |first4=Mauricio |last5=Muennig |first5=Peter |last6=Guida |first6=Florence |last7=Ricceri |first7=Fulvio |last8=d'Errico |first8=Angelo |last9=Barros |first9=Henrique |last10=Bochud |first10=Murielle |last11=Chadeau-Hyam |first11=Marc |last12=Clavel-Chapelon |first12=Françoise |last13=Costa |first13=Giuseppe |last14=Delpierre |first14=Cyrille |last15=Fraga |first15=Silvia |date=2017-03-25 |title=Socioeconomic status and the 25 × 25 risk factors as determinants of premature mortality: a multicohort study and meta-analysis of 1·7 million men and women |url=https://pubmed.ncbi.nlm.nih.gov/28159391 |journal=Lancet |volume=389 |issue=10075 |pages=1229–1237 |doi=10.1016/S0140-6736(16)32380-7 |issn=1474-547X |pmc=5368415 |pmid=28159391}}

Walter Scheidel in his 2018 book The Great Leveler identified a pattern in global human history, from stone age to the present day. Inequalities correct themselves ‘naturally’ by 4 main mechanisms: mass-mobilization warfare, transformative revolutions, state collapse, and catastrophic plagues, never through political choice. Scheidel calls them the “Four Horsemen” of leveling.

Thomas Picketty forenotes in Capital et Idéologie (2019): The rise in socio-economic inequalities, observed in most countries and regions of the planet since the 1980s and 1990s, is one of the most worrying structural changes facing the world at the start of the twenty-first century. We will also see that it is very difficult to envisage solutions to the other great challenges of our time, starting with climate and migration challenges, if we do not at the same time succeed in reducing inequalities and building a standard of justice acceptable to the greatest number''.

Following the relative higher impact of COVID-19 pandemic lockdowns on artists and culture workers’ income,{{Cite web |last=von Wyl |first=Benjamin |date=2021-03-28 |title=Palcos vazios e artistas sem dinheiro no bolso |url=https://www.swissinfo.ch/por/cultura/palcos-vazios-e-artistas-sem-dinheiro-no-bolso/46463444 |access-date=2025-04-21 |website=SWI swissinfo.ch |language=pt}} Portuguese writers-readers led by Dulce Maria Cardoso campaigned for the deployment of an ‘unconditional basic income’ for creators.{{Cite journal |last=Cardoso |first=Dulce Maria |last2=Veigas |first2=Francisco José |last3=Chéu |first3=Claudia Lucas |last4=Figueiredo |first4=Isabel |last5=Lourenço |first5=João |last6=Varatojo |first6=Luís |last7=Hugon |first7=Marta |last8=Neves-Neves |first8=Ricardo |date=2023-10-04 |title=Um rendimento básico para os criadores? |url=https://visao.pt/jornaldeletras/capasjl/2023-10-04-jl-1383/. |journal=Jornal de Letras}} Cardoso, DM. argues in her peace: - Everyone should have an unconditional basic income that allows them to live with dignity; - that all human persons have the same basic needs; - that it is imperative to start testing a basic income; and that - People will not stop working, they will not become lazy, it is in our nature to do things and be creative.{{Cite web |date=2023-06-21 |title=Visão {{!}} Dulce Maria Cardoso: "Todos devem ter um rendimento básico incondicional que lhes permita viver dignamente" |url=https://visao.pt/ideias-com-visao/2023-06-21-dulce-maria-cardoso-todos-devem-ter-um-rendimento-basico-incondicional-que-lhes-permita-viver-dignamente/ |access-date=2025-04-21 |website=Visão |language=pt-PT}} The Culture Minister of the XXIII Government, Pedro Adão e Silva, dismissed the readers’ appeal for a guaranteed basic income for artists arguing public financing should be associated with labor obligations{{Cite web |last=Portugal |first=Rádio e Televisão de |date=2023-09-08 |title=Ministro da Cultura discorda de rendimento básico garantido para artistas |url=https://www.rtp.pt/noticias/cultura/ministro-da-cultura-discorda-de-rendimento-basico-garantido-para-artistas_v1512769 |access-date=2025-04-21 |website=Ministro da Cultura discorda de rendimento básico garantido para artistas |language=pt}}. In a cross-synthesis of reviews, [https://theconversation.com/profiles/rebecca-hasdell-678999 Rebecca Hasdell] found that “evidence from diverse interventions in low-, middle-, and high-income contexts indicates minimal impact on aggregate measures of labor market participation, with some studies reporting an increase in work participation” and that “when reductions do occur, time is channeled into other valued activities such as caregiving”{{Cite journal |last=Hasdell |first=R. |date=2020 |title=What We Know About Universal Basic Income: A Cross-Synthesis of Reviews |journal=Stanford, CA: Basic Income Lab}}

Carloto helped to expose the complete lack of social security and precarious working conditions of artists and cultural production personnel in general, fueling gender inequality. Gender inequality and norms on the acceptability of violence against women are a root cause of violence against women.{{Cite web |title=Violence against women |url=https://www.who.int/news-room/fact-sheets/detail/violence-against-women#:~:text=Gender%20inequality%20and%20norms%20on%20the%20acceptability,a%20root%20cause%20of%20violence%20against%20women. |access-date=2025-04-21 |website=www.who.int |language=en}}

Carloto often expresses his compassion for animals in general and street dogs in particular. While turning Banzo he embraced the cause of the nonprofit organisation AMA, calling for financial support and volunteering in São Tomé e Príncipe. He also adopted two dogs. He stated that animals in São Tomé are in great suffering. There are colonies of dogs on the street. And dogs that come from a survivalist lineage, as soon as they feel the first promise of affection, they stick with you immediately. They are incredibly delicate and kind.

In the hyperrealistic piece The Tsugua Diaries (2022) the public sees Carloto as Carloto washing one of the dog-actors.

"That we would all be more like brothers and sisters in a few years. I would like to see that".

• 2023 - Amelia's Children by Gabriel Abrantes
• 2022 - You Won't Be Alone by Goran Stolevski
• 2019 - Frankie by Ira Sachs
• 2018 - Diamantino by Gabriel Abrantes & Daniel Schmidt
• 2015 - The 1001 Nights by Miguel Gomes
• 2015 - Montanha by João Salaviza
• 2014 - Olvidados by Carlos Bolado
• 2013 - Bairro by Jorge Cardoso, José Manuel Fernandes, Lourenço Mello, Ricardo Inácio
• 2012 - Lines of Wellington by Valeria Sarmiento
• 2012 - Tabu by Miguel Gomes
• 2012 - Paixão by Margarida Gil
• 2011 - Fratelli by Gabriel Abrantes
• 2011 - Demain by Christine Laurent
• 2010 - Mysteries of Lisbon by Raúl Ruiz
• 2010 - Carne by Carlos Conceição
• 2010 - Senhor X by Gonçalo Galvão Teles
• 2009 - To Die Like a Man by João Pedro Rodrigues
• 2009 - La Religieuse Portugaise by Eugène Green
• 2009 - Arena by João Salaviza
• 2009 - L'Arc En Ciel by David Bonneville
• 2009 - Soy un hombre sincero by Jaime Freitas
• 2008 - 4 Copas by Manuel Mozos
• 2008 - Nuit de Chien by Werner Schroeter
• 2007 - The Golden Helmet by Jorge Cramez
• 2006 - The End by Vitor Candeias
• 2005 - Aqui estou eu by Jaime Freitas
• 2005 - Two Drifters by João Pedro Rodrigues
• 2005 - Fin de curso by Miguel Martí
• 2004 - A Cara Que Mereces by Miguel Gomes
• 2003 - 31 by Miguel Gomes

• 2025 - [https://media.rtp.pt/seriesemserie/2025/01/14/casa-abrigo/ Casa Abrigo], RTP
• 2022-2023 - Elite, Netflix
• 2021 - Glória, Netflix
• 2019 - [https://tvi.iol.pt/prisioneira/ A Prisioneira, TVI]
• 2016 - Mata Hari - Théophile Rastignac - Starmedia
• 2016 - A Impostora, TVI
• 2015 - Santa Bárbara TVI
• 2012 - O Bairro TVI
• 2010 - Laços de Sangue SIC
• 2008 - Flor do Mar TVI
• 2007 - Ilha dos Amores TVI
• 2006 - A Minha Família RTP
• 2002 - Lusitana Paixão RTP

• 2008 - The Mother, Bertolt Brecht
• 2007 - Shopping and Fucking, Mark Ravenhill
• 2006 - Me Cago en Dios, Ìñigo Ramirez de Haro

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Category:1984 births

Category:21st-century Portuguese male actors

Category:French expatriates in Portugal

Category:Golden Globes (Portugal) winners

Category:Living people

Category:Male actors from Lisbon

Category:Male actors from Paris

Category:Portuguese male film actors

Category:Portuguese male television actors