O Destino

Maria Joana navigates the discoveries and transformations of adolescence. She experiences her first night of freedom and independence at the local Saint John's street celebration, testing her limits and confronting her inner fears — but not without consequences.

The vicissitudes of a bourgeois family and the conflicts emerged between brothers - Dr. Manuel Bernardo, wise and weighted, and Zecas, libertine and Capricious - who ignore his kinship. Two girls mark the sentimental vector: one defends the danger that threatens the threat, the other does not know how to react and is the victim of her ingenuity, a dream of restless youth ...

Cabreira Hill. A village dominated by patriarchal tradition: the woman takes care of the household or picks up wood; the man takes care of the cattle or chops down trees to produce coal. After doing time for a crime of passion, a sailor arrives, becoming an element of fascination, changing things.

The tumultuous lives of a woman and her three daughters who used to live in Paris, and are now living in Bairro Alto.

In the north of Portugal, country boy António is in love with his neighbour and childhood friend Rosa. However, his love for her is not reciprocated. One day, Rosa falls in love with Fernando, a medical student in Porto and the son of a wealthy farmer.

Ana doesn't care for the pure love André devotes her, and turns her heart towards a noble man that is just lightly interested in her. Ana will experience the agony of being abandoned, and must contemplate the reclusion of a nun's life.

The amorous sacrifices of the daughter of Tomé da Póvoa, Berta, with the gentleman Jorge and, in parallel, the warm connection of the other son of Dom Luis, Maurício, with dedicated cousin Gabriela.

Beiras, 19th century. The rapturous fatalism and the love tragedy between Teresa de Albuquerque and Simão Botelho, who survives the intolerant dispute between their noble families. Emphasis on Baltazar Coutinho’s (Teresa’s cousin and suitor) lethal rivalry, on blacksmith João da Cruz’ unconditional protection, and on Simão’s submissive adoration for his daughter Mariana…

Luísa has been married to Jorge for three years. He is about to leave on a mission to the Alentejo when she finds out about the arrival of his cousin Basilio after a long stay in Brazil, where he seems to have made a fortune.

Melancholic and atheist bank clerk Manuel is stuck in a love triangle with two women, the fiery art model Albertina and the quiet and religious Ana Maria. After spending several years working in Africa, Manuel returns to Portugal only to find both women already married, and his life marred by problems.

In Coimbra, law student José Duarte and the beautiful Maria de Lisboa experience an intense love story, but after finishing his studies and feeling betrayed, José Duarte abandons Maria and goes to Porto, seeking success as a singer of Coimbra fado. But, unknowingly, he leaves her pregnant with a child.

Adriana, an orphan who has been raised in a well off family, becomes pregnant after being seduced by a man. Outraged, Mr. Bento kicks her our of home. What he doesn't realize is that her seducer is his own son, Raul, a brilliant law student.

Shown in Cannes 1946, most of the film was lost and only 32 minutes of images with no sound survive today. An elementary school teacher, Lídia, is placed in an isolated village in the mountains and on the first day of school the doctor informs her that she will have to go away with the priest for three days. These will be the three godless days of the title, in which the young teacher will meet the lord of the hill, Paulo Belforte, who is feared by the whole village for allegedly setting fire to the church and for having tried to murder his own wife. Due to a series of misunderstandings, the villagers turn against Lídia and Belforte, to the point where at the end there is a torchlight procession to purify the diabolical events of Casal de Lobos. But all ends well, and peace is restored through (semi-)divine influence...

Maria starts working in the school of a small town. The count starts to feel attracted to her, but she holds a secret she doesn't want to share.

The domestic misfortunes of Duarte Tinoco, a married man with a free heart. At a time when the leading filmmakers in Portugal were foreigners working under contract with Invicta Film, the possibility of Portuguese artists with special skills moving into directing was a key project for that production company. This is how António Pinheiro, an acclaimed actor, came to direct Tinoco in Bolandas. The experience proved positive and was continued in another film. To make this film, António Pinheiro enlisted the help of his mentor, Georges Pallu, who had directed him in several films. In addition to appearing in the cast, Pallu was also responsible for adapting the play on which the script is based.