Luis Miguel Cintra, renowned actor, stage director and director of the Portuguese theatre company Teatro da Cornucópia, staged the play Illusion in early 2014. This play was based upon texts by Federico García Lorca. However, the 119th company's show was no ordinary show, for in the cast there were 59 non-actors, amateurs and theatre students.

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1920s. Vitalino, a small farmer from São Vicente sees his father die of the epidemic which decimated the country. Some years later, of all the brothers, Vitalino is the strongest and takes his father’s place in the house. But the village is too small for his aspirations and he decides to head to Brazil, leaving his sisters in charge of the household. In parallel with Vitalino’s story, If I Were a Thief… I’d Steal portrays the world of Paulo Rocha rummaging through his films and ghosts over the years.

A police detective in a South American country is dedicated to hunting down a revolutionary guerilla leader.

A meditation on civilization. July, 2001: friends wave as a cruise ship departs Lisbon for Mediterranean ports and the Indian Ocean. On board and on day trips in Marseilles, Pompeii, Athens, Istanbul, and Cairo, a professor tells her young daughter about myth, history, religion, and wars. Men approach her; she's cool, on her way to her husband in Bombay. After Cairo, for two evenings divided by a stop in Aden, the captain charms three successful, famous (and childless) women, who talk with wit and intellect, each understanding the others' native tongue, a European union. The captain asks mother and child to join them. He gives the girl a gift. Helena sings. Life can be sweet.

Having lost her place among the social elite, a widow remarries and starts a family.

The recollections of a Portuguese teacher in the present will make us follow his father, Manuel, former fighter in our colonial war and constantly tormented with those memories. He'll walk us through the depths of the physical sites that haunt him - from training barracks to the lakes and gardens of his youth and infatuation - and also to his memory's gulf - war and passion combined, entangled, in a battle that questions or howls immemorial existential doubts.

Zephyrus is a film-voyage, a fresco about Southern Portugal. A movie dealing metaphorically with the South of Portugal, singling it out as a place where various cultures came together and mix, giving birth to a singular identity, as unique as this movie itself, a mixture of fiction and documentary

The Life of Mirrors is one of the sections of the exhibition Luis Miguel Cintra - Small Theatre of the World. A commission by Serralves Foundation to Regina Guimarães and Saguenail, and constructed after an unpublished interview with Luis Miguel Cintra, this film is the result of a long and painstaking exercise of selecting and editing excerpts from films by Manoel de Oliveira in which Cintra participates as an actor. In this way, The Life of Mirrors is a reflective, retrospective essay film, which opens the Carte Blanche, thus establishing a gateway to Luis Miguel Cintra's cinematographic and cinephile career.

Story of the 1974 coup that overthrew the right-wing Portuguese dictatorship--which continued the fascist policies of long-time dictator Antonio Salazar--and of two young army captains who were involved in it.

A well-bred, lovely, spiritual, sad young woman marries an attentive physician who loves her. She feels affection but no love. Soon after, without design, she falls in love with Pedro Abrunhosa, a poet and performance artist. He also loves her. She keeps her distance from him, confessing her love to a friend who is a nun and, later, to her husband. Hunger for her love and jealousy consume him; she attends him as he wastes away. With his death, she can marry and express her passion, but what she does and how she explains herself, particularly to her cloistered friend, is at the heart of the film. Glimpses of convent life and of Abrunhosa on stage give contrast and mute comment.

A renowned symbol of Portuguese interventionist theatre, Cornucópia emerged from the darkness of fascism to fight dictatorship on stage. Among the classics, a project is born and dies, but one face remains emblematic: Luís Miguel Cintra, who shared his art with the constant complicity of set designer Cristina Reis. Together, guided by images, they bear witness, telling this story.

A photographer, Isaac, is asked by hotel owners to take portraits of their recently deceased daughter Angélica. When he looks at her through the lens of his camera, she appears to come back to life just for him. He instantly falls in love with her. From that moment, he will be haunted by Angélica day and night.

Ema is a very attractive but innocent girl, so pretty that cars crash in her presence. In her youth she marries Dr. Carlos Paiva, her father's friend, to whom she is not attracted. They move to the valley of Abraham. Carlos loves her, but decides to sleep in a separate room to avoid waking Ema when he has to return late at night. As time goes by she begins to feel unhappy about her marriage, so she finds a new lover.

A philosophy-obsessed serial rapist stalks a university campus in broad daylight.

A theatre having national as part of its name, at the top of a square, reflecting a country’s history. But which one? This is a voyage through the various narratives about D. Maria II National Theatre, forged through the intentions of the several regimes that intended to convey their own ideologies within the theatre’s mission. This is also the story of those who fought against it, opposed the institution and became part of it. How can one become heir of these stories, even if never having set foot inside.

In a mental institution the patients see themselves as people like Jesus, Lazarus, Martha, Mary, Adam, Eve, Sonia, Raskolnikov, Aliosha e Ivan Karamasov, a Philosopher, a Profet, Santa Teresa d'Avila, reciting the Divine Comedy.

In this French-Portuguese film -- directed by Jacques Rivette's screenplay collaborator Christine Laurent -- French vocalist Laure Constant (Laurence Cote) goes to Montevideo, Uruguay, to see her old lover Colossus (Jose Olivera), but when he's a no-show, she becomes involved with several other men, while listening to advice from some older French women who are costume designers. Shown at the 1997 Locarno Film Festival.

Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.

Once upon a time, the last days of 2028. This world’s disarray, no more no less than ever. Accommodate, adapt, evolve. The inability to live. The endless survival. Angela, a retired history teacher, has long lived in voluntary isolation, locked in an apartment in Lisbon. All her life, she refused conventions. Today, on Christmas Eve, she is faced with a “trivial” decision. Hospitality.