No synopsis available yet.

Mrs. Hope is a charismatic octogenarian widow, living alone in a pleasant apartment in Lisbon along with her cat Baltazar, since her husband died, years ago. Mrs. Hope is not like some other older people. She likes ballroom dancing, aqua aerobics sports and from time to time visiting the neighborhood chapel to say goodbye to her old fellows who passed away letting escape some less orthodox comments that make laugh even the most serious. She had two sons, but only one is alive - Artur. He is married with Leonor and together they have a son Rodrigo, a wild teenager and the only Mrs. Hope grandson. Herminia is her best friend, but her truly fellow is Paulina, a bold Angolan woman, mother of the teenager Joyce that Mrs. Hope considers as her goddaughter.

On a spring night of 1999, two teenagers set out in an adventure to save the VHS.

No synopsis available yet.

A nun is called upon to adopt her 15-year-old nephew, and as a consequence religious, familial and sensual love become entangled.

No synopsis available yet.

The Portuguese Carnation Revolution of April 25th seen by a women perspective.

Brothers-in-law, Eduardo and Sabonis, married to sisters Cuca and Peque Ribeiro, have made a real mess of one of their business ventures and are in need of money, a lot of money. It will be Sabonis who, in one of his uncontrollable fits of rage, comes up with a plan to fix all their problems in one go: kidnap Modesto, brother-in-law to Alicia Zamora, the businesswoman who screwed them over. There’s just one problem: Alicia has no intention of paying even a penny to get her brother-in-law back. In the end, it will be Modesto himself who comes up with a new plan to help Eduardo and Sabonis get the money they need to save the family wine business. What they don’t know is that police officer Mati, the Ribeiro’s middle sister, is on to their little plan. Eduardo, Sabonis and Modesto have everything to lose, but as Sabonis would say, what could go wrong?

Two erratic journeys whose only relation is all that happens at the same time and in a limited radius. It is a film that refuses to judge, trying to tell two stories while refusing to be subjected to analogies between them.

This new adventure of the brothers-in-law begins with the appearance of a corpse right in the middle of the Tui international bridge. This fact comes from what happened a few days ago... Carnival arrives and the Ribeiro family prepares to enjoy the favorite festivities of every good person from Ourense. Two years have passed since the arrest of Alicia Zamora and her Portuguese partner. The brothers-in-law have set up an octopus stand in Ourense, the perfect way to launder the riot money that fell to them from the sky (literally). Between one thing and another, Modesto has become another brother-in-law in the family. The appearance in Ourense of Andreia Nunes (the partner of the detained Portuguese) in search of revenge will complicate things for the brothers-in-law, getting them into a new mess that will turn this Carnival into a real masked ball.

In a community recently shaken by a local tragedy, 12-year-old João and his alcoholic father make a living from fishing. However, the effects of climate change on the business, the ghosts of their past and the father's increasingly erratic behavior could lead to their separation. It is in the next-door neighbors that João meets an unlikely family that could be his only hope for a different future.

No synopsis available yet.

Romeu, a corrupt cop, hires the services of Cid and Alex, to catch a notorious criminal, who left Mexico and is on his way to Galicia, Spain to find the killer of his brother, also trying to catch the same criminal is an FBI agent.

In Victorian London lives a man of adventurous spirit and great wit, Charles Augustus Howell, art agent, art dealer, conspirator and master of blackmail.

Werner Schroeter directed this dark and surreal tale of a man determined to save a lost lover from a grim fate at the hands of a violent mob. The city of Santa Maria is falling into chaos as an armed military faction is poised to take power in a coup d'etat. Ossorio used to call Santa Maria home, and he has returned in its darkest hour to find the woman he loves, hoping to rescue her from the violence that is lurks around the corner. As Ossorio searches for his love, he meets Victoria in a shabby hotel, who in turn introduces him to her father Barcala, who for the right price is willing to take Ossorio and another passenger away on his boat. While Ossorio is willing to pay Barcala what he wants, can he find the mysterious woman before the ship sets sail?

The Inquisition continues the persecution of Portuguese Jews, sending Visitador Sebastião Noronha to the city of Oporto. With his family and community in danger, António Álvares, decides to outline an escape plan.

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 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?

“1618” is a film about the inquisitorial visit to Porto that encountered resistance from priests, ordinary citizens and the city authorities themselves, all accustomed for centuries to living alongside the Jews.

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.