Edgar Pêra

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

José Carlos Fernandes is one of the most original Portuguese comic book authors. He has published more than 30 books, particularly the award-wining series A Pior Banda do Mundo. Some of these books have been translated in several languages, and his works have been exhibited at international comic book festivals.

Edgar Pêra interviews writer and comic book author Neil Gaiman at BD Forum Lisbon in 2003. A conversation about Gaiman’s work, which combines elements of terror with phantasy and political remarks on contemporary world, blending narrative genres. His most famous book series, Sandman, was adapted for television this year. It is a phantasy epic with humanistic contours on the world of dreams, and one of the comics that most appealed to a female audience.

Tommi Musturi is one of today’s most complex comic book authors. Much like a chameleon, this artist employs different illustration styles to create comics without ever losing his creative identity. Same as Pessoa, who granted his heteronyms different styles, Musturi makes use of a variety of languages according to the issue at stake.

It is with images of Domingos de Oliveira Santos, a surgeon turned filmmaker, that Edgar Pêra composes a mosaic that goes beyond home videos, rushing beyond them.

Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.

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.

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.

A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.

A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.

A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.

"Oh salty sea, how much of your salt / Are tears of Portugal! / To get across you, how many mothers cried, / How many sons prayed in vain! // How many brides were never to marry / In order to make you ours, oh sea! / Was it worth it? Everything is worthy / If the soul is not small." (Fernando Pessoa)

"Oh salty sea, how much of your salt / Are tears of Portugal! / To get across you, how many mothers cried, / How many sons prayed in vain! // How many brides were never to marry / In order to make you ours, oh sea! / Was it worth it? Everything is worthy / If the soul is not small." (Fernando Pessoa)

"Oh salty sea, how much of your salt / Are tears of Portugal! / To get across you, how many mothers cried, / How many sons prayed in vain! // How many brides were never to marry / In order to make you ours, oh sea! / Was it worth it? Everything is worthy / If the soul is not small." (Fernando Pessoa)

"Oh salty sea, how much of your salt / Are tears of Portugal! / To get across you, how many mothers cried, / How many sons prayed in vain! // How many brides were never to marry / In order to make you ours, oh sea! / Was it worth it? Everything is worthy / If the soul is not small." (Fernando Pessoa)

New film directed by Edgar Pêra.

New film directed by Edgar Pêra.

New film directed by Edgar Pêra.

Feature documentary about ex-maverick filmmaker António de Macedo.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

Abel Salazar, a scientist and an artist persecuted by the Fascist regime in the 40ies, is trying to finish a portrait, obsessed by the face of a woman. Ana, a young researcher in the present days, is dreaming about him. Or is it the other way round?

A bunch of spectators trapped in a cinema theatre.

A bunch of spectators trapped in a cinema theatre.

A bunch of spectators trapped in a cinema theatre.

João, a homosexual individual develops amnesia and forgets that he's homosexual.

João, a homosexual individual develops amnesia and forgets that he's homosexual.

A dreamlike journey seen through the eyes of a trans-human as well as a kino-symphony of voices from the multiple personas of Fernando Pessoa, Lisbon Revisited shows alternative ways of looking at and hearing the city. Celebrating its greatest phantom and confronting his ambiguous and pervasive sexuality, the film is spoken in the three languages in which Pessoa wrote, Portuguese, English and French.

A dreamlike journey seen through the eyes of a trans-human as well as a kino-symphony of voices from the multiple personas of Fernando Pessoa, Lisbon Revisited shows alternative ways of looking at and hearing the city. Celebrating its greatest phantom and confronting his ambiguous and pervasive sexuality, the film is spoken in the three languages in which Pessoa wrote, Portuguese, English and French.

A dreamlike journey seen through the eyes of a trans-human as well as a kino-symphony of voices from the multiple personas of Fernando Pessoa, Lisbon Revisited shows alternative ways of looking at and hearing the city. Celebrating its greatest phantom and confronting his ambiguous and pervasive sexuality, the film is spoken in the three languages in which Pessoa wrote, Portuguese, English and French.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

One Way Or Another (Reflections of a Psycho Killer) is a film about an urban misanthrope, wandering in the city of Busan, looking for his victims, in the midst of a faceless crowd.

One Way Or Another (Reflections of a Psycho Killer) is a film about an urban misanthrope, wandering in the city of Busan, looking for his victims, in the midst of a faceless crowd.

Инспектор начальных школ приезжает в деревушку в горах Баррозу для проверки, но даже не успевает толком приступить к работе - правитель этих земель, зловещего вида Барон приглашает его в свой замок в горах, события в котором изменят жизнь инспектора навсегда.

Crime Blue Abyss Physical Remorse is inspired by the life and works of Amadeo de Souza-Cardoso. This controversial 20th century painter defied the world avant-garde of his time: “I don’t follow schools. I am an impressionist, cubist, futurist, abstractionist. A melting pot. The real tradition is not to try and relive the past – which is impossible to achieve – but rather something that sets up a follow-through, as happens with parents and children. A child and his father are never alike.” The film follows Amadeo’s motto. It crosses pictorial fiction – suggested by the emblematic picture “The Procession”, painted in Paris in 1913 – with Portuguese contemporary reality.

A bizarre and tragic ballad of an impossible love between a nameless topographer and Leonor in a swamp soon to be destroyed by the forces of Man. She (Teresa Salgueiro, ethereal voice of Madredeus) is the “swamp-flower”, protégée of a Socratic Director (and his goat Plato). In a world without women, she is kept safe from the temptations of the flesh by her strict and grotesque Aunt. The sound-track entirely played by the workers (fado and bossa nova singers) reveals parallel narratives of suspicion and conspiracy that unfold to the pace of the unconscious leading to a confrontation between Man and River. Inspired by a hypnotic story by Branquinho da Fonseca (1905-1974).

A journey through the 80’s music scene in Portugal, gathering archive material shot and edited by Pêra, showing the filming process of music videos, concerts, band rehearsals and the last concert presented at the Rock Rendez Vous. Echoing the revolution, art is, at last, in its free form.

Documentary about 4 large architectural landmarks that projected Portugal abroad.

The unconventional biography Perpetual Movements: A Cine Tribute to Carlos Paredes uses snippets of the guitarist's work as well as archival performance footage alongside a series of images created specifically for the movie in order to tell the tale of this multi-faceted artist

Death is the great equalizer, if only due to the rites celebrated by the living. And thus, after their earthly existences ended, Ioannes Paulus PP. II. and Communist revolutionary-turned-politician Álvaro Barreirinhas Cunhal suddenly had a lot in common. Two funerals, one soundtrack. Lots of questions.

Braga’s Estádio Municipal was erected for the EURO 2004 championships. So can it be a surprise that the first association this all-seater arena provokes is a Roman circus, with a disconcerting Estado Novo-finish? Is FIFA therefore the Quinto Império realized, and its former president Sepp Blatter The Hidden One having an identity crisis?

This movie bring us a story about a woman named Laura (Marisa Cruz) that lives in a small portuguese town during the 50's. Tired of living in such a small town she travells to a bigger town, in which she'll have the opportunity to feel free.

Short documentary about football (soccer) supporters in Portugal

A 14-year-old kid, addicted to videogames, goes with his parents to a shopping mall and separates from them to go to a game store called UTOPYA. He doesn't come back. His parents get in despair, and his father tries everything he can to bring him back.

An experimental and surreal film, a mix of weird and unusual "avant-gard" cinematography with some traditional icons of the Portuguese culture, like Fado or the typical neighbourhoods of Lisbon, in this case the "Bica" is a typical neighbourhood which is used as setting to the plot.

An experimental and surreal film, a mix of weird and unusual "avant-gard" cinematography with some traditional icons of the Portuguese culture, like Fado or the typical neighbourhoods of Lisbon, in this case the "Bica" is a typical neighbourhood which is used as setting to the plot.

Some years ago, the Palácio de São Bento suddenly shook from visitors singing Zeca Afonso’s 1972 Grândola, Vila Morena in protest against Prime Minister Pedro Passos Coelho’s neo-liberal politics. Do the Carnation Revolution’s dreams live on in verses such as "On each corner there's a friend / In each face there's equality / Grândola, brown town / Land of fraternity"?

Some years ago, the Palácio de São Bento suddenly shook from visitors singing Zeca Afonso’s 1972 Grândola, Vila Morena in protest against Prime Minister Pedro Passos Coelho’s neo-liberal politics. Do the Carnation Revolution’s dreams live on in verses such as "On each corner there's a friend / In each face there's equality / Grândola, brown town / Land of fraternity"?

Some years ago, the Palácio de São Bento suddenly shook from visitors singing Zeca Afonso’s 1972 Grândola, Vila Morena in protest against Prime Minister Pedro Passos Coelho’s neo-liberal politics. Do the Carnation Revolution’s dreams live on in verses such as "On each corner there's a friend / In each face there's equality / Grândola, brown town / Land of fraternity"?

On All Saint’s Day 1755, around 09:40 hours, Lisbon was hit by an earthquake which eradicated almost the entire city. 345 years later (D.T. = depois de terramoto) means 2100 AD. Will Portugal’s capital be a Garden of Earthly Delights when we reach the year 2100? Pêra’s animation classic provides unexpected (in)sights about it.

Terrence McKenna: "What is real is you and your friends and your associations, your highs, your orgasms, your hopes, your plans, your fears." Aleister Crowley: "I am divided for love's sake, for the chance of union." Pessoa: "We never love anyone. What we love is the idea we have of someone." A music-text-collage-trance.

Animated experimental short-film by Edgar Pêra with Akademya Luzoh-Galaktika students. A cinematic homage to Max Ernst, Dziga Vertov, Jan Lenica, Terry Gilliam & Aurélio Paz dos Reis.

Edmund Husserl observed: "All perception is a gamble", which Robert Anton Wilson expands upon when he suggests that "[others] just have a different reality tunnel, and every reality tunnel might tell us something interesting about our world, if we are willing to listen." All seen through the mirror of João Queiroz’s art.

Edmund Husserl observed: "All perception is a gamble", which Robert Anton Wilson expands upon when he suggests that "[others] just have a different reality tunnel, and every reality tunnel might tell us something interesting about our world, if we are willing to listen." All seen through the mirror of João Queiroz’s art.

Edmund Husserl observed: "All perception is a gamble", which Robert Anton Wilson expands upon when he suggests that "[others] just have a different reality tunnel, and every reality tunnel might tell us something interesting about our world, if we are willing to listen." All seen through the mirror of João Queiroz’s art.

Edmund Husserl observed: "All perception is a gamble", which Robert Anton Wilson expands upon when he suggests that "[others] just have a different reality tunnel, and every reality tunnel might tell us something interesting about our world, if we are willing to listen." All seen through the mirror of João Queiroz’s art.

Film made with Lisbon Theatre & Cinema students of 1995

The city during the beginning of cinema. The typical city at the time of the dictatorship. The New Lisbon of the New Cinema. Lisbon after the Revolution. The white city of foreigners. A geographical and moviegoer screenplay of Lisbon through the images of films and testimonies of several filmmakers who filmed in Lisbon.

“Manual of Evasion LX94” is a thought-provoking Dadaist film about time by the Portuguese director Edgar Pêra. It was shot in Lisbon in 1994 and stars Terence McKenna, Robert Anton Wilson and Rudy Rucker. Time is explored from many unusual angles, while Pêra fills the screen with a wide variety of bizarre and mind-warping imagery.

“Manual of Evasion LX94” is a thought-provoking Dadaist film about time by the Portuguese director Edgar Pêra. It was shot in Lisbon in 1994 and stars Terence McKenna, Robert Anton Wilson and Rudy Rucker. Time is explored from many unusual angles, while Pêra fills the screen with a wide variety of bizarre and mind-warping imagery.

Since the Nazis infamously used Manchester Liberalism-apologist Heinrich Beta’s dictum Labour Liberates at the gates of several concentration and extermination camps, work has lost all positive values and connotations. What now? Hewers, loaders, hurriers, etc., in the Neves-Corvo mine see this matter differently from, say, priest António Vaz Pinto or critic/historian Paulo Varela Gomes.

Since the Nazis infamously used Manchester Liberalism-apologist Heinrich Beta’s dictum Labour Liberates at the gates of several concentration and extermination camps, work has lost all positive values and connotations. What now? Hewers, loaders, hurriers, etc., in the Neves-Corvo mine see this matter differently from, say, priest António Vaz Pinto or critic/historian Paulo Varela Gomes.

A portrayal of Futurist artist José de Almada Negreiros, who said: "I wanted others to say of me: 'Look, a man!' The same way they say: 'Look, a dog!' when a dog passes by; or how you say: 'Look, a tree!', when there is a tree. Which means as an entity, without the use of adjectives, only as one whole: A man!"

A portrayal of Futurist artist José de Almada Negreiros, who said: "I wanted others to say of me: 'Look, a man!' The same way they say: 'Look, a dog!' when a dog passes by; or how you say: 'Look, a tree!', when there is a tree. Which means as an entity, without the use of adjectives, only as one whole: A man!"

What happens when the testimonies of maimed Colonial War veterans meet the visual universe of Marvel comics? Would an alien life form, confronted with the evidence shown here, be able to say what war and peace mean to the members of the race we call human?

What happens when the testimonies of maimed Colonial War veterans meet the visual universe of Marvel comics? Would an alien life form, confronted with the evidence shown here, be able to say what war and peace mean to the members of the race we call human?

A short documentary about the works of Cassiano Branco, a modernist architect from Portugal

A short documentary about the works of Cassiano Branco, a modernist architect from Portugal

A short documentary about the works of Cassiano Branco, a modernist architect from Portugal

In 1988, Lisbon’s Chiado was ravaged by a fire; now, some of the highest real estate property prices in Portugal are paid for a piece of this Álvaro Siza Vieira-renovated area. Reproduta interdita was one of Pêra’s first (and certainly weirdest) works to deal with the aftermath of this disaster.

In 1988, Lisbon’s Chiado was ravaged by a fire; now, some of the highest real estate property prices in Portugal are paid for a piece of this Álvaro Siza Vieira-renovated area. Reproduta interdita was one of Pêra’s first (and certainly weirdest) works to deal with the aftermath of this disaster.

In 1988, Lisbon’s Chiado was ravaged by a fire; now, some of the highest real estate property prices in Portugal are paid for a piece of this Álvaro Siza Vieira-renovated area. Reproduta interdita was one of Pêra’s first (and certainly weirdest) works to deal with the aftermath of this disaster.

A story about character created by Reinaldo Ferreira (1897-1935), action reporter, mystery novelist and emotion journalist.

A story about character created by Reinaldo Ferreira (1897-1935), action reporter, mystery novelist and emotion journalist.