António Reis

António Reis

Nascimento : 1927-08-27, Valadares, Portugal

Morte : 1991-09-10

História

António Reis foi um cineasta e poeta português que se distingue pelo sentido poético da sua obra. É um dos representantes no documentário do movimento do Novo Cinema, que explora as técnicas do cinema directo. Com contemporâneos seus, usando esses meios, empenha-se na pratica da etnografia de salvaguarda.

Perfil

António Reis

Filmes

Terra Fria
Artur Lopes
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.
Rosa de Areia
Art Direction
Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive
Rosa de Areia
Editor
Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive
Rosa de Areia
Director
Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive
Rosa de Areia
Screenplay
Marking a stylistically and philosophically turn away from the earlier features, The Sand Rose is Reis and Cordeiro’s most abstract, conceptual and literary work. The film’s collage structure gathers texts from multiple sources – including Kafka and Montaigne – and crafts a world of theatrical artifice far from the documentary inspired naturalism of Ana and Trás-os-Montes. Reis and Cordeiro’s least known film has lingered in obscurity and never recovered from the unfairly negative reviews that resulted in its severely limited release. Reis died less than two years later, just as he and Cordeiro were about to begin an ambitious adaptation of Juan Rulfo’s Pedro Parámo. - Harvard Film Archive
Ana
Set Decoration
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
Editor
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
Producer
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
Writer
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
Director
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.
Trás-os-Montes
Sound Director
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.
Trás-os-Montes
Editor
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.
Trás-os-Montes
Producer
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.
Trás-os-Montes
Idea
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.
Trás-os-Montes
Director
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
Sound
Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.
Jaime
Editor
Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.
Jaime
Director
Jaime, a poem of suffering and loneliness, describes the existence and pictorial work of a man isolated in a psychiatric hospital.
Festa, Trabalho e Pão em Grijó de Parada
Poem
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.
Mudar de Vida
Screenplay
After a stint in the army fighting in Angola, a soldier comes home to find his sweetheart has married his brother. He makes advances towards his sister-in-law, but she turns him down. Discouraged, the man meets a new girlfriend who vows to escape the town's crushing poverty even if she has to steal.
Do Céu ao Rio
Director
Este curta-metragem, provavelmente uma encomenda da Hidroelétrica do Cávado, mostra vários aspectos da construção da rede de barragens daquela bacia hidrográfica, com um comentário lido pelo jornalista Fernando Pessa.
Acto da Primavera
Assistant Director
Local people of Curalha, a small village, keep a tradition of representing the Passion of Jesus, according to a 16th century text.
O Auto da Floripes
Producer
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.
Painéis do Porto
Director
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.