Luís Vieira Campos

Everything came up with this defiant idea: what if a director followed the first person to come through the door of his house? Luís Vieira Campos did this and found Geni, a strong woman who dreamt of opening her own store at Centro Comercial de Cedofeita, a mythical place of Porto. Between advances and retreats, between the increasing opening of the director and his character, the film reveals the unique portrait of a woman, a neighbourhood - Cedofeita - and the improbable relationships we establish when we least expect it. Luís Vieira Campos proves, with Geni, that cinema is also the "neighbourhood" and its people.

At the end of a long journey, certain people acquire the ability to fly out from earth. For this they need the help of João, whose task is to get them to the precise point of departure and explain their disappearance from planet earth.

In 1987, the directors of this film were students of cinema in Cooperativa de Ensino Superior Artístico Árvore I, current ESAP-Escola Superior Artística do Porto. While in their first year of studies, they decided to invite Henrique Alves Costa, a scholar of Portuguese cinema and historical manager of Porto’s Cineclube, to guide them on a visit to Invicta Film (1917-1928), the first major Portuguese film producer. In another epoch, in Porto of the 80s, the shooting recorded this wandering by the former studios of Invicta and also by Quinta da Prelada, whose exteriors served as setting for Frei Bonifácio (1918) – film directed by Georges Pallu. Memórias (Memories) is released 34 years later of these shootings with Henrique Alves Costa.

Filmed in one of the remaining social housing towers of Aleixo (Porto, Portugal), “Bicicleta” tells the story of a family living under economic pressure.

A woman has just confessed and the Priest forgives her sins. She prays several Our Fathers without stopping, in continuous rotation. She is a beautiful woman, attractive and also, in her kneeling legs, we see that she only has one shoe, just one, the other is missing. We seek after the beautiful woman's missing shoe.

A widow, a corpse, an undertaker, a young woman in a family way. Life and death meet in a funeral procession down a stairwell.

Everything came up with this defiant idea: what if a director followed the first person to come through the door of his house? Luís Vieira Campos did this and found Geni, a strong woman who dreamt of opening her own store at Centro Comercial de Cedofeita, a mythical place of Porto. Between advances and retreats, between the increasing opening of the director and his character, the film reveals the unique portrait of a woman, a neighbourhood - Cedofeita - and the improbable relationships we establish when we least expect it. Luís Vieira Campos proves, with Geni, that cinema is also the "neighbourhood" and its people.

At the end of a long journey, certain people acquire the ability to fly out from earth. For this they need the help of João, whose task is to get them to the precise point of departure and explain their disappearance from planet earth.

At the end of a long journey, certain people acquire the ability to fly out from earth. For this they need the help of João, whose task is to get them to the precise point of departure and explain their disappearance from planet earth.

At the end of a long journey, certain people acquire the ability to fly out from earth. For this they need the help of João, whose task is to get them to the precise point of departure and explain their disappearance from planet earth.

In 1987, the directors of this film were students of cinema in Cooperativa de Ensino Superior Artístico Árvore I, current ESAP-Escola Superior Artística do Porto. While in their first year of studies, they decided to invite Henrique Alves Costa, a scholar of Portuguese cinema and historical manager of Porto’s Cineclube, to guide them on a visit to Invicta Film (1917-1928), the first major Portuguese film producer. In another epoch, in Porto of the 80s, the shooting recorded this wandering by the former studios of Invicta and also by Quinta da Prelada, whose exteriors served as setting for Frei Bonifácio (1918) – film directed by Georges Pallu. Memórias (Memories) is released 34 years later of these shootings with Henrique Alves Costa.

Filmed in one of the remaining social housing towers of Aleixo (Porto, Portugal), “Bicicleta” tells the story of a family living under economic pressure.

Filmed in one of the remaining social housing towers of Aleixo (Porto, Portugal), “Bicicleta” tells the story of a family living under economic pressure.

A woman has just confessed and the Priest forgives her sins. She prays several Our Fathers without stopping, in continuous rotation. She is a beautiful woman, attractive and also, in her kneeling legs, we see that she only has one shoe, just one, the other is missing. We seek after the beautiful woman's missing shoe.

A widow, a corpse, an undertaker, a young woman in a family way. Life and death meet in a funeral procession down a stairwell.

A widow, a corpse, an undertaker, a young woman in a family way. Life and death meet in a funeral procession down a stairwell.

Francisco visits his wife, who is being held in a prison; it's an Intimate Visit. Dia de Visita is a short fiction film and was shot at the Special EP in Santa Cruz do Bispo.

Francisco visits his wife, who is being held in a prison; it's an Intimate Visit. Dia de Visita is a short fiction film and was shot at the Special EP in Santa Cruz do Bispo.

Francisco visits his wife, who is being held in a prison; it's an Intimate Visit. Dia de Visita is a short fiction film and was shot at the Special EP in Santa Cruz do Bispo.