Espinho

Follows Hugo as he takes a gap year and returns to Porto to regain balance with his family, but he attends a concert by Luís Stockman, who plays a theme that Hugo has been writing in his head for years.

Maria is a shellfisherwoman and midwife in a small village in the Illa de Arousa in 1970s Galicia. After an unexpected event, she is forced to flee to Portugal.

Life through a glass, life through a lens, life through a camera. Fade to black. General view of the access to a factory with a big wheel.

Penumbria was founded two hundred years ago, in a distant istmus - a place of arid soils, angry seas and violent weather. The city was due its name to the almost permanent shadows and cloudiness. One day, its inhabitants decided to leave, offering Penumbria to time. This is the story of an uninhabitable place.

In the mid-20th century, a troubled relationship between Germana, a young writer, and Quina, her aunt who lives in the northern Portuguese countryside. Feelings of jealousy, admiration and the complex magnetism between these two strong women arise.

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

A family with a long history (and many members) gathers around a table in a mansion in southern Portugal. The region has transformed from a depressed area into a thriving tourist destination. Kisses, hugs, and greetings quickly turn into complaints and reproaches surrounding the big issue: What should be done with Daddy’s house? It is a tempting piece of cake, laden with rich family memories. But progress cannot be stopped.

Over the dark and barren landscapes of a city somewhere in the Arctic Circle, we hear the story of a man who dreamed he was a woman, an oneiric reverie that allows him to be in two opposite places at the same time. It is a beautiful metaphor, as well as a eulogy, about accepting what seems illogical, instead of looking for meaning, one that finds comfort in the darkness and restlessness that disturbs sleep, turning it into a space for the subconscious to rise

An intimate drama about an aging war veteran forced into a retirement home, where he confronts the ghosts of his past and forms an unexpected bond with his Black caregiver.

Northern Portugal. An imposing residence with its garden and magnolia tree. As we know, home is a place that film, this outdoor art, has often used to depict less the joys of family life than a pernicious space. André Gil Mata has made it his stage, with its rooms, its furniture, what plays out there and what has already played out there. From one room to another, from one era to another, the film delves deep into this enclosed space, a kind of suffocating box.

In 1496, King D. Manuel prohibited Judaism. 400 years later, Barros Basto, a Portuguese army captain converted to Judaism, and about twenty Jewish merchants founded the Jewish Community of Oporto, in the north of Portugal.

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.

The story of a vigilante friar, zealous caretaker of goodness and order who, after suffering unrequited love for an engaged woman, becomes a terrifying villain in a quiet town.

“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.

A group of soldiers are sentenced for the murders of key political figures in the night of October 19th, 1921, in the streets of Lisbon. But the names of the conspirators remain unknown. Berta Maia, a widow of the 1910 revolution hero Carlos da Maia, will fight for the truth…

We stare at mirrors as if 'image' was a weapon of self-defense. At night, I hide in actors' dressing rooms for a working class experience. By day, I face an old theatre being razed to the ground, making way for a parking lot. Graffitis have curtains, the nose cap of an umbrella arises from a mount of sand. Oh, Happy Days! No need to stage anything! The bulldozer is a dinosaur whose teeth and gracious neck swings by a EU flag. In the boxes, we await the audience. Sometimes, nobody comes. Lost in a symbolic show of reality, I can only watch the world's end because all the endangered species perform and a reflecting labyrinth of life stories breaks through the glass of the Economic Eating Machine. Even when the sky is falling, theatre will always happen. So, choose the right place.

A writer immerses himself in his work La muerte del payaso and becomes a hostage of impossible dreams. Between crimes and hallucinations, between the gothic nature of night and the decadence of the sand, a hopeless story is told, based on the work of Raul Brandão.

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.

In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.

A survivor travels in search of the last bastion of civilization. Battling to survive, but never losing hope that something nostalgic from the past, which lives on in his memory, might still exist.