In 1970, this interest transformed into a profession when she became an assistant on several films: Quem Espera por Sapatos de Defunto Morre Descalço by João César Monteiro (1969–1970), O Recado by José Fonseca e Costa (1970–1971), Pedro Só by Alfredo Tropa (1970–1971), and Fragmentos de Um Filme-Esmola by João César Monteiro (1972).
She worked on editing the films of many directors, such as Manoel de Oliveira, João Botelho, Alberto Seixas Santos, and Thomas Harlan, as well as political documentaries.
Her first feature film was Dina e Django (1983), followed by Até Amanhã, Mário (1994), Comédia Infantil (1998), Aparelho Voador a Baixa Altitude (2002) and A Filha (2003).
In 1998, she made her debut as a theater director with A Noite é Mãe do Dia, by Lars Norén, while working for Belém Cultural Center and Teatro da Malaposta.
She currently collaborates with Artistas Unidos, where she has directed the plays Vai Vir Alguém (Someone Is Going To Come), Sonho de Outono (Autumn Dream) by Jon Fosse, Traições (Betrayal), Há Tanto Tempo by Harold Pinter and Scenes from a Marriage by Ingmar Bergman.