Antonio Caldeira Pires

Paulo works in a bar and when his shift is over he wonders through the Lisbon night. Between a romantic and desolate tone, Flávio Gonçalves films in the poetry of the night. A poetry made of encounters, ferocious lights and bodies that love and fear.

A protagonist in limbo, with a precarious work situation, a temporary home location. And a hidden facet of his life that he reveals to few.

A young actress becomes politically aware within the Paris Commune of 1871.

Miguel has his life falling apart, but in one last push of hope, he tries to change that and start living a normal life.

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

The village innkeeper Lejba Sibal and his pregnant wife Sura are threatened by Lejba's former farmhand Georg, who wants to kill them both at Easter. After Lejba has sought help from the authorities in vain, he decides to fight back himself.

During the century of the Spanish Gold, Doña Prouhèze, wife of a nobleman, deeply loves Don Rodrigo, who is forced to leave Spain and go to America. Meanwhile Prouhèze is sent to Africa to rule the city of Mogador. Ten years later Rodrigo leaves America and travels to Africa in search of Prouhèze to find out that she died and eventually meeting her daughter.

No synopsis available yet.

Based on the work by Fernando Pessoa - a "message" about the destinies of Portugal - not just in isolation but looking at them as precursors and announcers of the fate of the entire planet.

Gothic film in a monastery, where sensual monks murder the children they receive, with images of fantastic, painted from the author own painting and also from the Hammer films and the Saxon plastic tradition of romanticism.

This is one of Noronha da Costa's films in which the "fictional" component is most visible. D. Jaime or the Portuguese Night, like the rest of Noronha da Costa's films, is part of the gothic films (Terence Fisher's work was one of his great influences), and in it he shows the different variations around the "specular bodies", which evolve into luminous magic and into sensual and sensory incandescence. At the same time, we witness a series of ironic and erotic, or historical, views of wicked virgins and laughable sadists, all resurrected from German and British romanticism, while the scenery is no longer Portuguese.