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.

Mãe de Caliban e prisioneira de Ariel, Sycorax permanece fora do palco em A Tempestade de Shakespeare, rejeitada por Prospero como uma “feiticeira maligna.” Aqui ela se torna o sujeito central, enquanto um diretor tenta dar um rosto e uma voz a esta personagem silenciosa.

Em Mar Infinito, num mundo paralelo, Pedro tenta fazer o seu caminho para se juntar a um êxodo para outro planeta. Enquanto vive nos seus sonhos e frustrações de ser deixado para trás, encontra Eva, que o desafia e o obriga a aceitar o seu propósito.

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.

Em um ambiente rural, um velho é informado de que sua falecida esposa foi vista no mercado. Rancoroso e triste, ele escolhe se esconder do resto do mundo. No entanto, seus amigos insistem que ele não deve ouvir boatos. Dizem que ele deveria tentar se recuperar e, quem sabe, até casar novamente. É uma história sobre a delicadeza da velhice, do que ainda resta para sonhar e amar quando você chega nesta fase da vida e o corpo enfraquece. Acontece num Portugal antigo e escondido que ainda existe apesar dos nossos esforços de modernização.

Poeta decadentista e simbolista português, António Nobre morreu de tuberculose aos 32 anos (1900), deixando apenas um livro publicado (Só, 1892). Poeta simbolista brasileiro, Augusto dos Anjos morreu de pneumonia aos 30 anos (1914), deixando apenas um livro publicado (Eu, 1912). A coincidência é o pretexto para Pedro Bastos convidar o espectador para uma incursão por espaços sombrios, lúgubres, inquietantes e decadentes.

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.