NationalityPortugal
LanguagesEnglish (fluent), English – American (fluent), Australian languages (good), Spanish (good)
BornDili, Timor-Leste, Timor-Leste
Age range25 - 35
Height157 cm
Ethnic typesSouth-East Asian
Place of residenceLisbon - Lisboa (Portugal)
MembershipsGDA - Gestão dos Direitos dos Artistas (Portugal)
Academia Portuguesa de Cinema (Portugal)
Work permitEuropean Union
Languages English (fluent), English – American (fluent), Australian languages (good), Spanish (good)
Dialects Alentejo (fluent), Lisbon (region) (fluent), France Centre (good), Greater London (good), New York - American (good), Porto (Northern region) (good)
Accents American (very good), Creole (very good), Afro-American (good), Asian (good), Australian (good), English (good), Filipino (good), Nigerian (good)
Dance Dance improvisation (very good), Dance theatre (very good), Dance training (very good), Disco (very good), Flamenco (very good), Free dance (very good), Highland dance (very good), Interpretive dance (very good), Samba (very good), Stage dance (very good), Standard dance (very good), Vogue (very good), Choreography (good)
Singing. A Cappella (very good), Art Song (very good)
Vocal pitch / Dubbing voice Soprano
Sports Cycling (very good), Gym (good), Table Tennis (good)
Driving licences / Other permits Driver’s licence car
Other Skills Alexander Technique, Artistic Director, Director, Improvisation, Storytelling, Translator
Age range 25 - 35
Height 157 cm
Weight 57 kg
Colour of eyes Black
Colour of hair Dark brown
Hair style straight long
Twin No
Ethnic types South-East Asian
Tattoo Yes, visible
Piercing None
Glasses Contact lenses
Scars Yes, invisible
2026 Best Film (United States of America) - Award
2025 Best Ensemble (United States of America) - Award
António Feio
Directed by
Devil
Lead
António Feio’s staging of *Auto da Barca do Inferno* was an innovative production developed by Cultural Kids. The play adapted Gil Vicente’s classic for school audiences, integrating Vicente’s text with new technologies and scenic elements.
Carlos Avilez
Directed by
Zoia
Ensemble Leading Part
“The Bedbug” is a famous play by Russian author Vladimir Mayakovsky, directed by Carlos Avilez at the Cascais Experimental Theater (TEC). The production featured a translation by Portuguese poet Alexandre O'Neill, with set design, costumes, and props designed by Fernando Alvarez.
Iva Areias, Carlos Dante, José Manuel Fernandes, António Marinho
Directed by
Guard
Small Role
Macau, Thailand, and Portugal are the three settings for this story by author and actor Tozé Martinho, which takes viewers back to the fateful day of the 2004 tsunami in Southeast Asia. The soap opera marks Margarida Vila-Nova’s return to the screen (after becoming a mother) in the lead role of Filipa, who believes she has lost her fiancé Diogo—played by Diogo Amaral—in the natural disaster.
Andrew Pharnell
Directed by
Jasmine
Ensemble Leading Part
Simon Catillon
Directed by
Anfisa
Ensemble Leading Part
During lock down, three sisters clash over love-dreaming, defying, doubting-only to rediscover the strength of sisterhood and love's transformative power.
Stella Marrazes
Directed by
Director
We Are One transcends race, sexuality, and culture to highlight universal human experiences. Through diverse characters, the film challenges societal norms and promotes inclusion. Our aim is to inspire understanding that we are all united.
Carlos Avilez
Directed by
Zoia
Ensemble Leading Part
“The Bedbug” is a famous play by Russian author Vladimir Mayakovsky, directed by Carlos Avilez at the Cascais Experimental Theater (TEC). The production featured a translation by Portuguese poet Alexandre O'Neill, with set design, costumes, and props designed by Fernando Alvarez.
Stella Marrazes and Catarina Mago
Theatre: Teatro Rápido
Theatre
Comedy
Stella Marrazes and Catarina Mago
Directed by
Wanda
Lead
António Feio
Directed by
Devil
Lead
António Feio’s staging of *Auto da Barca do Inferno* was an innovative production developed by Cultural Kids. The play adapted Gil Vicente’s classic for school audiences, integrating Vicente’s text with new technologies and scenic elements.