António Reis

In the forties, in a little settlement lost amidst the mountains of Trás-os-Montes, Leonardo tries to survive by buying and selling marten and fox furs, dreaming of the day he’ll close a big deal.

두 감독의 영화 중 가장 덜 알려졌지만 가장 실험적이고 문학적인 작품. 감독은 카프카와 몽테뉴 등의 작업에서 텍스트를 빌려온 다음 이를 원초적인 자연의 이미지와 함께 제시한다. 사람들은 과거와 현재를 오가며 사색에 잠긴다. (2015년 시네마테크 포르투갈 특별전 - 주앙 페드로 베르나르 다 코스타와 포르투갈 영화)

두 감독의 영화 중 가장 덜 알려졌지만 가장 실험적이고 문학적인 작품. 감독은 카프카와 몽테뉴 등의 작업에서 텍스트를 빌려온 다음 이를 원초적인 자연의 이미지와 함께 제시한다. 사람들은 과거와 현재를 오가며 사색에 잠긴다. (2015년 시네마테크 포르투갈 특별전 - 주앙 페드로 베르나르 다 코스타와 포르투갈 영화)

두 감독의 영화 중 가장 덜 알려졌지만 가장 실험적이고 문학적인 작품. 감독은 카프카와 몽테뉴 등의 작업에서 텍스트를 빌려온 다음 이를 원초적인 자연의 이미지와 함께 제시한다. 사람들은 과거와 현재를 오가며 사색에 잠긴다. (2015년 시네마테크 포르투갈 특별전 - 주앙 페드로 베르나르 다 코스타와 포르투갈 영화)

두 감독의 영화 중 가장 덜 알려졌지만 가장 실험적이고 문학적인 작품. 감독은 카프카와 몽테뉴 등의 작업에서 텍스트를 빌려온 다음 이를 원초적인 자연의 이미지와 함께 제시한다. 사람들은 과거와 현재를 오가며 사색에 잠긴다. (2015년 시네마테크 포르투갈 특별전 - 주앙 페드로 베르나르 다 코스타와 포르투갈 영화)

Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.

Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.

Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.

Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.

Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.

Reis and Cordeiro’s undisputable masterpiece exploded the meaning and possibilities of ethnographic cinema with its lyrical exploration of the still resonant myths and legends embodied in the people and landscapes of Portugal’s remote Trás-os-Montes region.

Reis and Cordeiro’s undisputable masterpiece exploded the meaning and possibilities of ethnographic cinema with its lyrical exploration of the still resonant myths and legends embodied in the people and landscapes of Portugal’s remote Trás-os-Montes region.

Reis and Cordeiro’s undisputable masterpiece exploded the meaning and possibilities of ethnographic cinema with its lyrical exploration of the still resonant myths and legends embodied in the people and landscapes of Portugal’s remote Trás-os-Montes region.

Reis and Cordeiro’s undisputable masterpiece exploded the meaning and possibilities of ethnographic cinema with its lyrical exploration of the still resonant myths and legends embodied in the people and landscapes of Portugal’s remote Trás-os-Montes region.

Reis and Cordeiro’s undisputable masterpiece exploded the meaning and possibilities of ethnographic cinema with its lyrical exploration of the still resonant myths and legends embodied in the people and landscapes of Portugal’s remote Trás-os-Montes region.

Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.

Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.

Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.

One of the first films that looks at the Portuguese region of Trás-os-Montes. From the mask called “careto” and the popular festival to the everyday reality.

포르투갈 식민지 전쟁에 참전했던 한 군인이 자신의 고향인 작은 어촌 마을로 돌아온다. 그러나 그가 떠나 있던 동안 마을의 많은 것이 변했고, 군인은 그런 환경에 쉽게 적응하지 못한다. 올리베이라의 에 조감독으로 참여했던 파울로 로샤 감독이 다큐멘터리적 방법론을 사용해 만든 독특한 극 영화.

This short film, probably commissioned by the Hidro-Eléctrica do Cávado, shows several aspects of the dams’ network construction in that hydrographic basin, with a commentary read by Fernando Pessa. “Do céu ao rio” was premiered at the Odéon cinema in Lisbon, on January 29, in 1964, but it is in a more fragile heritage situation since its original image negative is not located.

Local people of Curalha, a small village, keep a tradition of representing the Passion of Jesus, according to a 16th century text.

Popular theatre re-enactment that goes back to the XVII-XVI centuries, integrating in the pilgrimage of Senhora das Neves, held every year, in the first days of August. The performers are local people, and the show takes place outdoors, in the church square, involving Christians and Moors.

Made by commission of the Porto City Council, Panels of the Porto is a visual essay on the city, gathering sequences filmed between the river and downtown, commented with the reading of poems by authors like Vasco de Lima Couto, Egito Gonçalves, Rosália de Castro, Pedro Homem de Mello, Fernando Pessoa, and António Reis himself, with music by Francisco Rebelo.