Bernardo Bourbon

On a hot August afternoon, the family gather at the table and remember Uncle Botão: the Colonial War, and emigration to France where he lived and worked for thirty years as a garbage man.

A Garrano horse is forced to pull a heavy load under the sun's blazing heat. The young boy, Joel, discovers a man who is about to set the forest on fire.

A young man writing a motivation letter for a new job is interrupted by a longtime friend who appears with bizarre intentions.

Rafa senses an eminent farewell, remembering bygone places, encounters and fleeting connections.

Rafa senses an eminent farewell, remembering bygone places, encounters and fleeting connections.

'A Távola de Rocha' enables us to enter Paulo Rocha’s universe, to gather memories and find, within his personal and professional relationships, a key to decipher some of the unknown symbols and allusions contained in his films.

Who is Sycorax? The first character in Shakespeare's "Tempest" to set foot on the island. The problem is that she has no voice. She is barely mentioned by Prospero as a crooked, old, wicked witch who vilely locked Ariel, the spirit of the air, in a tree. But why would she do that? Here, we wouldn't believe Prospero so much.

In a parallel world Pedro tries to hack his way into joining an exodus to another planet. While he dwells in his dreams and frustrations of being left behind he meets Eva, who challenges him and forces him to come to terms with his purpose.

While transitioning from male gender to female, Matia struggles with finding a sincere intimate relationship with a heterosexual male.

"I Don't Like 5PM" is the portuguese director's journey of discovering the first love. The story is told through personal photos and videos captured in the nature of Norway, Portugal and Poland. Divided into four chapters, the film shows the search, the love, the separation and the memory. The search is his strong friendship with a young german woman. The following chapters show moments of his first love with a young polish woman. Incapable of living miles away from each other, the relationship ends and remains a memory. In a moss covered forest, the young polish woman sings about an impossible love.

"I Don't Like 5PM" is the portuguese director's journey of discovering the first love. The story is told through personal photos and videos captured in the nature of Norway, Portugal and Poland. Divided into four chapters, the film shows the search, the love, the separation and the memory. The search is his strong friendship with a young german woman. The following chapters show moments of his first love with a young polish woman. Incapable of living miles away from each other, the relationship ends and remains a memory. In a moss covered forest, the young polish woman sings about an impossible love.

In a rural landscape, that resembles an old Portugal, an elderly man find out that his wife, whom he believed to be dead, was seen shopping in town. Spiteful and sad, he wants to hide from everyone, but his friends insist that he uses this situation to become stronger and try to get married again.

A decadent and symbolist Portuguese poet, António Nobre died of tuberculosis at the age of 32 (1900), having published only one book (Só, 1892). A symbolist Brazilian poet, Augusto dos Anjos died of pneumonia at the age of 30 (1914), having published only one book (Eu, 1912).

Oscar is a child germinating in its parent’s garden. Its body is developping underground. Nobody knows its biological sex but he wants to be a boy. One day, Oscar gets out of the ground and discovers his female body. After this painful discovery, is his desired identity finally going to be accepted?

A mysterious shadow unveiling a female figure walking naked towards us in the desert. In another sequence, the same woman speaks on the phone, talking about the end of the world. In a third moment, a couple prepares breakfast in their apartment, with the same woman from the previous sequences embracing a baby. What will these three narrative moments have in common? What is the relationship between them? Everything and nothing. Is the answer in the woman’s emotional words on the phone? Or in her helpless expression when walking naked? Or in the happiness she seems to find in the domestic routine? Perhaps the charm is really not in trying to decipher, but in getting lost in this visual and impressionistic poem, this shake that slowly expands in our senses. Max Planck, one of the founders of the ancient quantum physics theory, said that energy has a discontinuous structure and can only exist under the form of fragments. These are the fragments that hide here an ethereal promise.

It dawns. A group of hunters is reunited, suspended in time and space. Prey and predator.

It dawns. A group of hunters is reunited, suspended in time and space. Prey and predator.

In a bucolic place on the island of Flores, the most remote of the Azores archipelago, a lonely man lives in complete isolation, without any kind of human interaction. With him, just a black cat and a spotted cow. His daily routine is lived between his house and a lighthouse that apparently is, or has been, in his charge.

The short film tells the story of Natasha, a young woman of dual nationality who, after years living with her mother in Riazan (Russia), is looking for an opportunity to earn money in Portugal. Natasha becomes a waitress and, as time goes by, encounters Pub’s economic difficulties and poor pay for her work. Enticed by her colleagues, she ends up making decisions that will condition her future.

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

Andreia's arrival disturbs Ana and João's relationship and awakens dormant desires.

Andreia's arrival disturbs Ana and João's relationship and awakens dormant desires.

Andreia's arrival disturbs Ana and João's relationship and awakens dormant desires.