Eduardo Barreto
Most recent Film Work:
2023 STREET OF FLOWERS (Six Ep. Series) Writer, UK
2023 COMPULSIVE, a feature length film, Director / Writer USA, UK, Belgium
(starring Hannah Arterton and BAFTA Award-winning actress Juliet Aubrey
2022 THE CRIME OF FATHER AMARO (Six Ep. Series) Co-Writer, RTP, PT
2021 ZE DO TELHADO (Pilot Episode) Script Editor, Like Creative, Portugal
2021 MORTE NAS TREVAS (Pilot Episode) Script Editor, Like Creative, Portugal
2021 NOITE CLARA (Feature Film) Script Editor, Ukbar Filmes, Portugal
My short film PASTRY, featured in the British Film Council Directory is still enjoying a very successful career in the international film festival circuit (Official Selection at 29 festivals), found a worldwide film distributor, and Eurochannel acquired the rights for a non-exclusive deal, for 2 years, to be aired on pay cable, pay satellite and pay mobile television all over the world. You can watch it here: https://vimeo.com/166188485
My very first short - TWO BROTHERS - also featured in the British Film Council Directory, got a generous note from Tessa Ross, former Head of Film 4 (Channel 4): “It’s a beautiful, distinctive piece of work and you tell your story in an intriguing and intimate way. I'm sure the team would be interested to see what you make next, and how your filmmaking develops as you explore a bigger world and continue to grow the contexts for your stories “
I am a passionate and dedicated London based creative in the theatre and film industries. I have been mainly working in theatre in UK. And I'm now taking my first steps into film.
I have a Masters in Screenwriting at UAL (1st Class Honours), a BA (Hons) in Film Practice (majored in Screenwriting) also at UAL, and studied for a Masters in Screenwriting at the London Film School .
THEATRE DRIECTING:
The Operas RUTH and THE DARK LADY OF THE SONNETS by composer Philip Hagemann for Pegasus Opera Company; the musical TOMORROW MORNING by Laurence Mark-Wythe at Lisbon's Casino; two plays by Jean Cocteau, THE HUMAN VOICE and THE SOUND OF SILENCE (Trafalgar Studios, West End); Christopher Hampton's DANGEROUS LIAISONS (Teatro da Trindade, Lisbon's West End); Tennessee Williams’ SUDDENLY LAST SUMMER (Teatro Maria Matos, Lisbon's West End); Jorge Guimarães' ALL FOR NOTHING (Menier Chocolate Factory); Patrick Hamilton's ROPE (Riverside Studios); Luís Domingues adaptation of THE CRIME OF FATHER AMARO (Greenwich); Luís Assis' PEEP SHOW (Greenwich); Luísa Costa Gomes' NEVER NOTHING FROM NO ONE (Cockpit); L.A. Green's MARCHING (Tristan Bates Theatre) and Adam Szymcowicz’s NERVE (Baron’s Court).
Written work:
HAPPY IN THE PARK (short film adapted from Oscar Wilde’s The Happy Prince), A WOMAN IN TROUBLE (short); THE SOLITUDE OF FLOWERS IN THE NIGHT-TIME (feature length screenplay); THE UPPER CRUST (short); HER HUBAND’S PINK SHIRT (4 episode TV series); THE UNIVERSE ALONE (short); STREET MOVIE (stage play); THE ZOO AND THE CIRCUS (stage play); THE DRESSMAKER (stage play); ZEZÉ! (stage play); COMPULSIVE (feature)
OTHER EXPERIENCE:
Workshopped and directed readings of the following plays
No Surprises, Mikail Chowdhury, Royal Court / Tara Arts
What You Do To People, Sarah Rutherford, Hampstead Theatre
2023 STREET OF FLOWERS (Six Ep. Series) Writer, UK
2023 COMPULSIVE, a feature length film, Director / Writer USA, UK, Belgium
(starring Hannah Arterton and BAFTA Award-winning actress Juliet Aubrey
2022 THE CRIME OF FATHER AMARO (Six Ep. Series) Co-Writer, RTP, PT
2021 ZE DO TELHADO (Pilot Episode) Script Editor, Like Creative, Portugal
2021 MORTE NAS TREVAS (Pilot Episode) Script Editor, Like Creative, Portugal
2021 NOITE CLARA (Feature Film) Script Editor, Ukbar Filmes, Portugal
- Mentor to film students at Central St Martin’s
- Screenwriting mentor to up-and-coming screenwriters
My short film PASTRY, featured in the British Film Council Directory is still enjoying a very successful career in the international film festival circuit (Official Selection at 29 festivals), found a worldwide film distributor, and Eurochannel acquired the rights for a non-exclusive deal, for 2 years, to be aired on pay cable, pay satellite and pay mobile television all over the world. You can watch it here: https://vimeo.com/166188485
My very first short - TWO BROTHERS - also featured in the British Film Council Directory, got a generous note from Tessa Ross, former Head of Film 4 (Channel 4): “It’s a beautiful, distinctive piece of work and you tell your story in an intriguing and intimate way. I'm sure the team would be interested to see what you make next, and how your filmmaking develops as you explore a bigger world and continue to grow the contexts for your stories “
I am a passionate and dedicated London based creative in the theatre and film industries. I have been mainly working in theatre in UK. And I'm now taking my first steps into film.
I have a Masters in Screenwriting at UAL (1st Class Honours), a BA (Hons) in Film Practice (majored in Screenwriting) also at UAL, and studied for a Masters in Screenwriting at the London Film School .
THEATRE DRIECTING:
The Operas RUTH and THE DARK LADY OF THE SONNETS by composer Philip Hagemann for Pegasus Opera Company; the musical TOMORROW MORNING by Laurence Mark-Wythe at Lisbon's Casino; two plays by Jean Cocteau, THE HUMAN VOICE and THE SOUND OF SILENCE (Trafalgar Studios, West End); Christopher Hampton's DANGEROUS LIAISONS (Teatro da Trindade, Lisbon's West End); Tennessee Williams’ SUDDENLY LAST SUMMER (Teatro Maria Matos, Lisbon's West End); Jorge Guimarães' ALL FOR NOTHING (Menier Chocolate Factory); Patrick Hamilton's ROPE (Riverside Studios); Luís Domingues adaptation of THE CRIME OF FATHER AMARO (Greenwich); Luís Assis' PEEP SHOW (Greenwich); Luísa Costa Gomes' NEVER NOTHING FROM NO ONE (Cockpit); L.A. Green's MARCHING (Tristan Bates Theatre) and Adam Szymcowicz’s NERVE (Baron’s Court).
Written work:
HAPPY IN THE PARK (short film adapted from Oscar Wilde’s The Happy Prince), A WOMAN IN TROUBLE (short); THE SOLITUDE OF FLOWERS IN THE NIGHT-TIME (feature length screenplay); THE UPPER CRUST (short); HER HUBAND’S PINK SHIRT (4 episode TV series); THE UNIVERSE ALONE (short); STREET MOVIE (stage play); THE ZOO AND THE CIRCUS (stage play); THE DRESSMAKER (stage play); ZEZÉ! (stage play); COMPULSIVE (feature)
OTHER EXPERIENCE:
Workshopped and directed readings of the following plays
No Surprises, Mikail Chowdhury, Royal Court / Tara Arts
What You Do To People, Sarah Rutherford, Hampstead Theatre
- 2006 to 2012 Commissioned, nurtured new plays while under a first option contract with the Ambassador Theatre Group, and then with Roger Wingate’s Act Productions
- He has work-shopped newly commissioned plays with actors such as: Meera Syal, Juliet Stevenson, Martina Laird, Rosamund Pike, Vincent Ebrahim, Tom Burke, Tamsin Greig, Julian Rhind-Tutt and Jamie Parker, amongst others
- Eduardo was the director of Requiem Productions, whose patrons were the actors Susannah York and Alan Bates.
London (Greater London)
Most recent Film Work:
2023 STREET OF FLOWERS (Six Ep. Series) Writer, UK
2023 COMPULSIVE, a feature length film, Director / Writer USA, UK, Belgium
2022 THE CRIME OF FATHER AMARO (Six Ep. Series) Co-Writer, RTP, PT
OTHER WRITTEN WORK:
HAPPY IN THE PARK (TV film adapted from Oscar Wilde’s The Happy Prince), A WOMAN IN TROUBLE (short); THE SOLITUDE OF FLOWERS IN THE NIGHT-TIME (feature length screenplay); THE UPPER CRUST (short); HER HUBAND’S PINK SHIRT (4 episode TV series); THE UNIVERSE ALONE (short); STREET MOVIE (stage play); THE ZOO AND THE CIRCUS (stage play); THE DRESSMAKER (stage play); ZEZÉ! (stage play)
2023 STREET OF FLOWERS (Six Ep. Series) Writer, UK
2023 COMPULSIVE, a feature length film, Director / Writer USA, UK, Belgium
2022 THE CRIME OF FATHER AMARO (Six Ep. Series) Co-Writer, RTP, PT
OTHER WRITTEN WORK:
HAPPY IN THE PARK (TV film adapted from Oscar Wilde’s The Happy Prince), A WOMAN IN TROUBLE (short); THE SOLITUDE OF FLOWERS IN THE NIGHT-TIME (feature length screenplay); THE UPPER CRUST (short); HER HUBAND’S PINK SHIRT (4 episode TV series); THE UNIVERSE ALONE (short); STREET MOVIE (stage play); THE ZOO AND THE CIRCUS (stage play); THE DRESSMAKER (stage play); ZEZÉ! (stage play)
Comedy, Comedy (topical), Film, Radio, Short story, Television, Theatre
6
from my screenplay "NO TIME TO GROW"
INT. GIGI'S APARTMENT / LIVING ROOM - DAY
The front door to the apartment opens carefully and a dimly-projected light coming from the landing silhouettes a woman, GIGI (late 20s/early 30s).
She closes the door, places the door keys on a small porcelain dish sitting on a small table in the entrance hall, and turns the small light on the table on. Gigi takes off her summer scarf and hangs it on the coat stand. She does the same with her purse. She walks confidently through the gloominess of the apartment, as if it belonged to her.
A small, claustrophobic room with one small window. The curtains don't allow any light in and the apartment lights are switched off, yet the sound coming from the outside is clearly that of a busy city afternoon.
A man, OSKAR (mid 20s), is sitting in an armchair with his legs crossed. He seems calm, the sort of person who would patiently wait a century to get what he wants. He is terrifyingly still and too immersed in the dark, so that neither his features nor what he is wearing are recognizable - like a predator camouflaged in the shadows, waiting to catch its prey.
Gigi turns the drinks cabinet light on. On the walls, black-and-white framed photographs of New York skyscrapers. One photograph is signed and says, "To Gigi with love, Margaret Bourke-White. 1953."
She takes off her shoes, opens the door to her bedroom and throws the shoes in, after which she shuts the door and walks to the bathroom, still with most of the lights switched off.
She opens the door to the bathroom, enters and leaves it ajar. A light is switched on. The sound of running water can be heard, and she releases a few sighs of relief as she seems to be freshening her face. The light is turned off.
She comes out and closes the door. Still in the dark, Gigi heads towards a drinks cabinet and pours herself a drink, which she relishes.
Silence.
GIGI Who let you in?
OSKAR The front door was open. I found it most welcoming.
She contains her irritation.
OSKAR (CONT’D) You've got someone living with you? It doesn't seem like the sort of thing you'd do.
He takes a set of playing cards from his pocket. His face remains hidden by the absence of light.
OSKAR (CONT’D) Lucky I stopped by. Anyone could've walked in. Neighbourhood like--
GIGI Still playing that ridiculous game?
Oskar doesn't like her comment and remains silent.
Gigi walks towards him and switches on the light of the standard lamp next to the armchair - preparing her territory for WAR. She has bleached-blonde hair in an unusually modern style, ahead of her time.
Oskar’s blonde hair is overdone with grease.
GIGI (CONT’D) The receding hairline is not one of your best features.
She turns on the light of another standard lamp.
GIGI (CONT’D) Now I see why you prefer the dark.
Gigi walks towards the desk and turns on the table lamp.
GIGI (CONT’D) Whatever’s going to be left after the lion's mane is gone?
She adjusts the sharp letter opener on the desk.
GIGI (CONT’D) A platitudinous Sphynx cat?
Gigi semi-pulls the curtain back and semi-opens the window. The noise of the traffic seeps in.
GIGI (CONT’D) What brings you here?
OSKAR Family matters.
She walks to the kitchen.
GIGI Bit late for that, don't you think?
OSKAR In that case, money.
Gigi laughs out loud.
INT. GIGI'S APARTMENT / LIVING ROOM - DAY
The front door to the apartment opens carefully and a dimly-projected light coming from the landing silhouettes a woman, GIGI (late 20s/early 30s).
She closes the door, places the door keys on a small porcelain dish sitting on a small table in the entrance hall, and turns the small light on the table on. Gigi takes off her summer scarf and hangs it on the coat stand. She does the same with her purse. She walks confidently through the gloominess of the apartment, as if it belonged to her.
A small, claustrophobic room with one small window. The curtains don't allow any light in and the apartment lights are switched off, yet the sound coming from the outside is clearly that of a busy city afternoon.
A man, OSKAR (mid 20s), is sitting in an armchair with his legs crossed. He seems calm, the sort of person who would patiently wait a century to get what he wants. He is terrifyingly still and too immersed in the dark, so that neither his features nor what he is wearing are recognizable - like a predator camouflaged in the shadows, waiting to catch its prey.
Gigi turns the drinks cabinet light on. On the walls, black-and-white framed photographs of New York skyscrapers. One photograph is signed and says, "To Gigi with love, Margaret Bourke-White. 1953."
She takes off her shoes, opens the door to her bedroom and throws the shoes in, after which she shuts the door and walks to the bathroom, still with most of the lights switched off.
She opens the door to the bathroom, enters and leaves it ajar. A light is switched on. The sound of running water can be heard, and she releases a few sighs of relief as she seems to be freshening her face. The light is turned off.
She comes out and closes the door. Still in the dark, Gigi heads towards a drinks cabinet and pours herself a drink, which she relishes.
Silence.
GIGI Who let you in?
OSKAR The front door was open. I found it most welcoming.
She contains her irritation.
OSKAR (CONT’D) You've got someone living with you? It doesn't seem like the sort of thing you'd do.
He takes a set of playing cards from his pocket. His face remains hidden by the absence of light.
OSKAR (CONT’D) Lucky I stopped by. Anyone could've walked in. Neighbourhood like--
GIGI Still playing that ridiculous game?
Oskar doesn't like her comment and remains silent.
Gigi walks towards him and switches on the light of the standard lamp next to the armchair - preparing her territory for WAR. She has bleached-blonde hair in an unusually modern style, ahead of her time.
Oskar’s blonde hair is overdone with grease.
GIGI (CONT’D) The receding hairline is not one of your best features.
She turns on the light of another standard lamp.
GIGI (CONT’D) Now I see why you prefer the dark.
Gigi walks towards the desk and turns on the table lamp.
GIGI (CONT’D) Whatever’s going to be left after the lion's mane is gone?
She adjusts the sharp letter opener on the desk.
GIGI (CONT’D) A platitudinous Sphynx cat?
Gigi semi-pulls the curtain back and semi-opens the window. The noise of the traffic seeps in.
GIGI (CONT’D) What brings you here?
OSKAR Family matters.
She walks to the kitchen.
GIGI Bit late for that, don't you think?
OSKAR In that case, money.
Gigi laughs out loud.