Telmo Churro

Telmo Churro, born in Lisbon back in ’77, has carved out a pretty interesting little niche for himself in the world of film. You look at his body of work and it's obvious the guy isn’t afraid to get experimental or tackle some heavy themes. Take Índia (2022) for example—yeah, it’s not your average popcorn flick. There’s a whole lot going on beneath the surface. Churro doesn’t hand you the story on a silver platter. Instead, he sort of tosses you right in, lets the visuals and sound design mess with your head a bit, and leaves you piecing things together long after the credits roll. Then you’ve got his work on As Mil e Uma Noites—split into volumes, no less. Volume 1: O Inquieto (2015) and Volume 2: O Desolado (2015) aren’t exactly shy when it comes to ambition. Those films are sprawling, mixing real-world grit with the kind of storytelling that feels almost mythic. Churro’s editing style is pretty raw but also poetic at times, if that makes sense. He’ll linger on a shot just long enough to make you uncomfortable, then cut away right when you think you’ve figured it out. The pacing’s got this hypnotic quality, pulling you through stories that jump from the mundane to the surreal. Honestly, his stuff isn’t for everyone, but if you’re into films that make you think—and maybe squirm a little—Churro’s name should absolutely be on your radar.