José Mário Branco

Documentary about the Portuguese singer Camané and the process of creating one of fado's key works, revealing a rigorous search that allows him to achieve masterful interpretations.

Carolina, an aging local grande dame who works at a crossing point on the titular river, marries another late-in-life character, the dredging-boat operator Antonio. Not long after their union, she becomes intensely jealous of Antonio's fondness for their winsome goddaughter, Joana, and insinuates herself into a relationship brewing between Joana and a mystical gypsy gold salesman. Soon, tempers are flaring, mystical secrets are being revealed and death is hovering over the central characters.

At the end of the nineteenth century, an army force led by Major Mouzinho de Albuquerque, a cavalry officer, imprisoned in Mozambique the tribal chief Gungunhana, who had rebelled against Portuguese government and sovereignty. Mouzinho instantly becomes a national hero but his raising popularity worries the State.

Summer of 1964. The professor Carlos and the couple Dário and Alda spend time together in the beach during vacations. Away from the colonial war, everything seems lost in time.

The history of Portugal since the Republican revolution of 1910 to the revolutionary period following the military coup of April 24, 1974, recounted with a marxist perspective, using historic sound and film documents. The title refers to a trilogy of values proclaimed by Salazar, prime minister of Portugal in 1936.

On an isolated Portuguese island, a nameless man makes a mental journey which brings him into contact with the strange and menacing world without peace and harmony.

Freely based on Gide ('Paludes') and Hawthorne ('Wakefield'), this is a film about a writer who never wrote anything and who blows at nightfall the breath of frost. The poem by Carlos Queiroz to which the above sentences belong is not cited in 'O som da Terra a Tremer', but the atmosphere is that, between written letters never received. Fiction within fiction, stories within stories, like those Chinese boxes in which there is always one inside another. Or the two margins of the same river, always being lateral.

Manuel bids farewell to his routine and boards a 15th century vessel under pirate law. Treason on board triggers a series of terrible events our protagonist overcomes while keeping his moral principles intact.

A bewitching combinatory adaptation of the Bluebeard tale and a 15th century Portuguese fable of a damsel who disguises herself as a knight errant.

Mesmerized by the songs of Peroguarda villagers in southern Portugal’s Alentejo region, young Portuguese modern poet Antonio Reis, Corsican researcher of Portuguese folk music Michel Giacometti, and film director Paulo Rocha visited the village one after another in the late 1950s. This work refreshes the soul and flows with songs and poetry seeped in sadness, as well as the atmosphere of the quiet sea and village, fields adorned with vibrant red flowers, and roads traveled by Reis and the others, while interspersing images from Paulo Rocha’s films.

Director Jorge Silva Melo has developed a viable, though highly intellectual mystery story about the world of art and culture and murder in this somewhat theatrical presentation. When German artist Bernd Hoffmann (Michael König) arrives in Lisbon to oversee the installation of his paintings in a joint exhibition with another Berlin artist, Hanna Brauer (Charlotte Schwab), Hanna never shows up. Hoffmann is puzzled because he is certain he saw a video sequence with Hanna at the exhibition, and he begins to look for her. Another Lisbon cultural center, a theater, is also having problems that may or may not be related -- and the mystery deepens when Hanna is found dead, either by her own hand, or murdered.

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.

Using film and television footage taken during the revolutionary movement of April 25, 1974 in Portugal, and mixing it with music and live interviews with common people, the director conveys a vivid account of the period in which a military coup evolved to a socialist revolution, then was tempered into a formal European style democracy.

Traveling by the experience and by the roots of one of the strongest manifestations of Portuguese popular culture – singing polyphonic Alentejo. Evoking Michel Giacometti, the film questions the origins of the “sing” in the context of Mediterranean culture.