António Pedro Figueiredo

A bear is sighted somewhere in the northwest of Trás-os-Montes. The animal causes a natural uproar, but his existence seems to be called into question by some.

A nun is called upon to adopt her 15-year-old nephew, and as a consequence religious, familial and sensual love become entangled.

Ariel de Bigault's work has been connected to the routes of the Lusophone World. In Fantasmas do Império we are guided by the saotomean actor Angelo Torres through some works of the Portuguese cinema that explored its colonial past. Some directors as Fernando Matos Silva, João Botelho or Margarida Cardoso help to understand imperialism, colonialism, and propaganda seen through the "family album" which is the Portuguese cinematic collective imaginary.

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

1993년 전쟁이 벌어지던 사라예보의 한 노인은 자신의 과거를 잊고 싶다. 제2차 세계대전의 시대를 살아가는 아이는 자신에게 주어진 시간을 보내는 방법을 알지 못한다. 두 사람은 다른 시대를 살아가던 동일 인물이라는 것이 드러난다.

Maria da Luz is almost blind. She's been waiting for cataract surgery for 3 years. António, an old fisherman, takes care of her, hiding the secret of an old love. Miguel, a mysterious boy, wanders through the city, watching daily for Maria's house. Luís, the mayor, seeks to solve the problem of hundreds of people with cataracts in the Municipality. Ana, Maria's daughter visits her mother. Despite their misfortune, they seek to redeem themselves under the eyes of António and Miguel. Maria da Luz is not alone.

Adaptation by the director Inês Oliveira from the traditional Portuguese tale «O Sapo e a Rapariga». The laundry room is closed and a young woman (Rita Cabaço) has to learn how to wash clothes by hand with the wise Deolinda (Isabel Ruth), who tells her a strange story of enchantment.

Marta and Jorge have been a couple for seven years. All their friends think they are living a perfect romance. Too perfect, perhaps, for the despair of all: Bruno, who is much younger than Marta but madly in love with her; Lígia, who is Bruno's sister and Marta's best friend and would love to see her brother happy; Carlos, Jorge's friend, who maintains a superficial romance with Lígia while secretly in love with Marta; and for Jorge himself, who is afraid this idyllic romance will imprison him and, convinced that his love and his lover's desire to marry will take away his freedom, decides to show her the way into Carlos arms.

It's a summer weekend in a country house near Sintra, in Portugal. Fourteen-year-old Nicolau is spending a couple of days with his older brother Simão and his friends, all of them in their late twenties. Everyone is drawn to the beautiful and quiet Maria do Mar, but Nicolau will see his life the most deeply shaken by her. Between homework and tree-climbing, stories about a deceased philandering grandfather and the origins of the tortellini's shape, a friend in a costume nursing a broken heart and seduction games, Nicolau observes this group of young adults.

In Alhambra, between the mountains and the river, a train runs through the village. Oscar, forty-eight years, has worked for the last twenty-fifth years in the same factory, and finds himself awaiting for the resolution of the court on the application of the insolvency of the factory where he worked. With the suspended production and the unpaid wages, Oscar and his colleagues continue to appear daily to work hoping that they can keep their jobs.

In mid-summer 2011, Paulo Carneiro and set out as assistant director for a film crew working on a project on the west African coast. There he unexpectedly ended up shooting his own film, a documentary report about a sinking ship near the coast of Guinea-Bissau on which he was a passenger. The digital camera records the growing panic on the ship after it has gotten stuck in the ocean in an oppressive nighttime atmosphere. In shaky interview footage, we see passengers move from an initial apathy to nervous anxiety, and from there fluidly to a fear for their lives. The growing tension on board is reflected in the film's ever quickening tempo.

'Bué Sabi' (pronounced "bweh sabi") portrays the unlikely friendship of three female characters: a troubled girl of Gypsy descent who lives in one of Lisbon's toughest neighbourhoods, her best friend from Cape Verde and a young middle-class girl. Apart from their differences, they are good friends. Until one fateful night in Lisbon...

Jorge is a loner and a writer of popular books. At night, he looks through other people's windows and thinks that they are truly happy.

Jorge is a loner and a writer of popular books. At night, he looks through other people's windows and thinks that they are truly happy.

Jorge is a loner and a writer of popular books. At night, he looks through other people's windows and thinks that they are truly happy.

In one afternoon Rafael’s paradise becomes a spiral of guilt and paranoia.

A journey inside the tram crossing the city of Lisbon while listening to fragments of Fernando Pessoa's poetry.

Fragments of spaces, buildings and structures, memories and remains of past eras, places of work or leisure now inhabited by our memories alone, or really forgotten. Dead things or living proof of time, natural elements, and human predators themselves.

Dora divides her time between her work as a beautician, her policeman husband António, and her involvement in left-wing politics. A tale of love and how we must learn to cherish it against all odds in the pursuit of happiness.

Dora divides her time between her work as a beautician, her policeman husband António, and her involvement in left-wing politics. A tale of love and how we must learn to cherish it against all odds in the pursuit of happiness.

서른 살까지는 신이 주신 얼굴로 살지만, 이후에는 자신에게 어울리는 얼굴을 가꿔야 한다는 포르투갈의 속담. 프란시스코는 축제 기간에 서른 살 생일을 맞는다. 교사로 일하는 그는 카우보이 복장을 하고 연극제가 열리는 학교로 간다. 그런데 아이들의 연극이 끝나갈 무렵 무대에 등장한 프란시스코가 갑자기 정신을 잃는데, 게다가 불행은 이것으로 끝나지 않는다. 자유분방하고 독창적인 이야기를 선보이는 포르투갈 감독 미겔 고미쉬의 장편 데뷔작. 일률적 기준 아래 성장하기를 강요받는 인물은 혼란 속에 위기를 맞고, 고미쉬는 이를 현실과 환상의 경계를 넘나들며 아름답고 신비롭게 그려냈다.

A poignant personal story. Do we want to know it? Sérgio tries to understand the troubled past of his mother, Fleurette, 79 years old. Notwithstanding her resistance to his questions, little by little, throughout the film she reveals almost another life where love is closely related to politics. From occupied France and Nazi Germany to the Brazilian dictatorship and the Portuguese revolution.bright and powerful speech magnetizes the audience.

This is the way you hold the racket to play a forehand. Just move your arm back, the left shoulder facing the ball, step forward with your left foot, hitting the ball.”

The operational commander of the "Captains Movement", describes and recreates a quarter of century later the crucial 24 hours of April 25, 1974, that would topple the Portuguese government and start a democratic regime in Portugal - since another military coup, May 28, 1926, installed a one-party dictatorship there. The scenes in the claustrophobic operation room are recreated, with him alone and a few voices.

The Portuguese Revolution (1974-75) seen through the eyes of some of the most important photographers and filmmakers that witnessed the event. Their dreams and expectations and what came out of the revolution. With outstanding historical footage.

Natal 71 is the name of a record given to the soldiers of the portuguese colonies overseas for Christmas 1971. Niassa's Songbook is the title of an audiotape illegally recorded by soldiers during the war years, in Mozambique. They are memories from a country which was shut from the rest of the world, poor and ignorant, laid to sleep by a stale and primitive propaganda which tried to hide all the conflicts from us and kept us from thinking and recognising the repressive nature of the regime we lived in.

Catalyst in the story of crossed paths is a 1957 Ford Fairlane being driven through Portugal’s Alentejo region to a new owner. Film’s overly protracted opening has car’s drivers (Filipe Cochofel, Antonio Pedro Figueiredo) joy riding the night away until the roadster breaks down. Momentum picks up at sunrise with their attempts to fix the car. A retired mechanic-turned-beekeeper with a heart condition (Canto e Castro) does the trick and convinces Figueiredo to take him cross-country on a motorbike to look up an old friend. Cochofel and the mechanic’s alarmed niece (Maysa Marta) follow in pursuit. The old man dies peacefully on the road, but Figueiredo, having wholeheartedly grasped his deliverance mission, keeps going.

Fernanda, António and Quim are travelling by train to a provincial Portuguese industrial city. Fernanda, a teacher, agrees to replace a pregnant colleague. António is returning to the home he was forced to flee long ago, accused of setting fire to the Duarte’s factory. At the station he bumps into Mariana who is in love of him. António is not welcome and is violently attacked by a group connected to Duarte ...

One night Jorge will meet with a Japanese industrialist, who will allow him to abandon his teaching position and resume his chemical work. However, when he gets home he finds a person there.

Laura lives in the country with her considerably older husband. When Nuno, her brother who study in Lisbon, pays a visit, he realizes that his sister does not have a happy life. He initiates a friendship with a worker on the farm. The circumstances turn Laura and Nuno against each other... Portrays the repressed sexuality and homosexual desire in a rural setting and elliptically and delicately the small farming community that serves as the backdrop for the impossible relationships pursued by Laura and her brother.