Nós Por Cá Todos Bem

On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's The Day the World Ended (1956). The producer is nowhere to be found and director Munro attempts to find him in hopes of being able to finish the film.

A story about doomed love between two people from different worlds and the impact in their lives.

A film adaptation of the Charles Dickens novel "Hard Times" set in a Portuguese industrial town of the 1980s.

A police captain's niece is trapped by white slavers.

Lúcia is an independent woman who lives alone in Lisbon. Her father commits suicide leaving her a message on phone recorder, revealing a letter he wrote. However Lúcia can't find it in her father's house. On that visit she ends up meeting with her mother, a known political activist with whom she has a distant and tense relationship. In hope of finding the letter, Lúcia leaves to the farm where she grew up, on an isolated location. There she reencounters Álvaro, an old childhood companion, who shares a little life time he has left between roses and the piano, and the guardian angel that follows and protects her through nocturnal wanderings.

Reflections on life and death unfold through the eyes of Jorge, the head doctor of the Haematology Department, whose world is plunged into despair when he falls in love with Clarisse, a woman suffering from advanced leukemia.

An unflinching, fragmentary look at a handful of self-destructive, marginalized people, but taking as main focus the heroin-addicted Vanda Duarte.

A group of former university college students reunites in the city where they graduated at, to attend the funeral of one from their group. In fulfilling his last dying wish, the group goes on a journey of self discovery about the true essence of friendship and life. However they haven't been together in 10 years...

A fanciful biopic of legendary conductor Arturo Toscanini as a very young man.

Alentejo 1975. The Police associate a group of traveling players with a strike of agricultural workers. The action takes place in the open space and harsh heat of the Alentejo. With the connivance of Lianor, the troupe enters the palace of Don Gonzalo an old aristocrat. The gentleman is obsessed by visions of great past deeds in a universe of ghosts. This was the first example of militant cinema in Portugal after the end of the Estado Novo dictatorship, exploring the world after the Carnation Revolution and its contradictions.

Jô is kicked out of home by his father on his birthday. Having no place to go, he takes refuge in the terrace of Rose, who just lost her husband.

Daniel had a plan, a sort of journal of the future, written in a notebook. Sometimes he went back to rectify small things, but still, life seemed pretty easy and happiness too. But, all of a sudden, everything changed for the worse: Portugal collapsed and Daniel lost his job. He couldn't afford to pay the mortgage for his house any more. His wife, also unemployed, left with his children, searching for better opportunities.

Once the boss started deducting a third of the workers' wages on the pretext that it was necessary to purchase new machines in order to compete, a group of workers went on strike, occupied the company, but were expelled from their workplace by the police. Out on the street, the workers think about the best way to make their comrades and the general population aware of the seriousness of their situation. They then decide, by mutual agreement, following the humorous tradition of cegadas and popular theater, to improvise a satirical performance in which they denounce some typical examples of capitalist exploitation. From the bandstand, which serves as their rehearsal stage, to the final procession, which unexpectedly takes on a different tone, the workers learn and teach us how scathing and uncompromising criticism of capitalist institutions can be transformed into a celebration of struggle, joy, and unity.

This film depicts the life of the 19th-century Portuguese writer Wenceslau De Moraes by means of nine ancient ballads from China. The writer married a Chinese woman after he left his wife and family to go live in Macao. Later, he moved to Japan where he fell in love with a Japanese woman, staying in Japan for the rest of his life. Mixed in with the career and loves of Moraes is the history of Portugal at home and in its colonies.

The life of a young man, son of an English officer who lets himself become a prisoner of love resulting in fatalism and disgrace.

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.

The Soares are a bourgeois couple, living in a good neighbourhood of Lisbon, but João, their son, is not integrating well in that pattern. He attends more political meetings than classes at the Faculty of Economy, and gets a job but that's short lived because his female boss makes him her lover. He longs for the coffee shops, and the companions of old, but he doesn't get true love from anyone.

A young man from a high-bourgeois family, Henrique receives mysterious phone calls from a woman at the barracks where he is serving in the military, which attracts him to meetings without consequences.

This Portuguese drama examines the daily life minutiae and intrigues of two scions of society in the rural village where they live. One is a wealthy landowner, the other a widowed aristocrat who lives in a world of her own.

"Kilas" (a Portuguese misrepresentation of the English word "killers") is the nickname of a petty con-man who gets involved with a deadly ring of spies.

Shortly after murdering his professor, a young man encounters a sailor who offers him a position on his ship in exchange for 3 Danish crowns and his attention as he recounts his life story.

Alexandra Lencastre plays a woman who believes she is President of the U.S.A.

While on his way to a picnic in Lisbon, Manuel stops to help two foreigners that had a car breakdown. With his tools, he retrieves a bag that contains... 200 thousand dollars worth of jewelery stolen by the two girls in Marbella.

“A Princesinha das Rosas” is about Naíde, a girl born from the union between a fisherman and a mermaid, adopted by monarchs of a country with no heirs, but to whom the call of the waters will inevitably attract.

This exaggerated mockery of crime cinema tells the story of a gang lead by "Renato, o pacíficio" (Renato, the peaceful) and their attempt to steal precious jewels from the Gulbenkian Museum in Lisbon. The weapon of choice? Bees!

In 1974, not long after the death of Portuguese dictator Salazar, who had ruled Portugal from the early '30s to the late '60s, a group of disgruntled Army officers held a coup. They were even more disgruntled when they realized how the coup was being manipulated by leftist officers to instigate genuine elections and establish a constitution for the first time in Portuguese history. Though their intent was to form a radical socialist state, circumstances prevented this, and a genuine parliamentary democracy emerged. This film explores the circumstances of a right-wing businessman during those times. The man is an old-fashioned authoritarian, whose attentiveness to the needs of his mistress, wife and son is crude where it exists at all.

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.