Tag: PORTUGAL

May 9, 2020 / Arthouse

An anthology film drama featuring a poetic mirror structure based on existential identity. In “The Immortals,” adapted from a Helder Prista Monteiro play, two famous doctors, an 80-year-old father, and his 60-year-old son, contemplate senility and death. “Suzy,” from an Antonio Patricio story, is set in the ’30s when a young courtesan dies on the operating table. “Mother of the River” is from an Agustina Bessa-Luis fable about eternal life.

May 9, 2020 / Arthouse

Ema is a sweet and innocent girl who is so beautiful she turns the head of every man she passes. Her life takes a despairing turn for the worse when her father forces her into a passionless marriage to his friend, a wealthy doctor. To make matters worse, she is relocated to the scenic but unfamiliar and isolated vineyards of Abraham’s Valley, Portugal where the breathtaking river Douro flows. Trapped in a marriage to a man she does not love, she scorns her husband and threatens to kill herself rather than submit to his desires.

April 23, 2020 / Fantasy
February 9, 2020 / Arthouse

Julio, aged nineteen, has just left the provinces to settle down in the outskirts of Lisbon. He lives there in a poor area with his uncle Afonso and starts working as an apprentice shoemaker. At the shop, he gets to know Ilda, a young housemaid and regular customer. Ilda is pretty, joyful and modern and Julio falls for her. The two young people, although very different from each other, embark on an idyll…

December 6, 2019 / Arthouse

The story takes place in the old streets of Porto and by the banks of the Douro River. A gang of very young kids has just accepted a new member, Carlitos, a shy boy who has “played it tough” by stealing a doll in a shop. Carlitos soon has a crush on Terezinha, the only girl in the group. The trouble is that Eduardo, the gang boss, is also in love with the pretty girl. And he will not allow any rival to challenge him.

September 13, 2019 / Sci-Fi
June 14, 2019 / Arthouse
May 17, 2019 / Arthouse

Oliveira returned to the center of Portugal’s film scene in the 1960s with Acto da Primavera, a work that marks a significant change in the director’s trajectory and that initiates some of the cinematic strategies that he would develop more fully in later films. In Acto da Primavera, Oliveira offers a version of a popular representation of the Passion of Christ, enacted by members of a rural community in northern Portugal, derived from the Auto da Paixão de Jesus Cristo (1559), by Francisco Vaz de Guimarães.