2024 film by Miguel Gomes

The imaginative gaze of filmmaker Miguel Gomesbrings to the screen a fundamental text of Brazilian literature, Rebellion in the Backlands, Euclides da Cunha’s account of the 1897 war between the nascent Republic’s army and the native inhabitants of Canudos. This epic movie on the end of the symbiosis between humans and nature has faced major obstacles due to the complex political situation in Brazil, with a protracted pre-production phase that involves historical reconstruction of the village and close collaboration with the descendants of the Canudos. At present the production has been postponed due to the Covid-19 pandemic.
by Daniela Persico

Miguel Gomes (Tabu) muses with characteristic humour and melancholia upon small-scale, perversely prescient moments of human fallibility in this witty and affecting found-footage film.

With no parents, tutors, nor any watch in sight, a girl and two boys spend some summer days. There’s an amateur rugby match, a party, a trip to the beach; and also a slight romantic tension, some three-way kissing and half-joke, half-serious fights. But there are almost no words: part of it is because these kids don’t know very well how to talk to each other, and also because Gomes’ talent doesn’t need them to make images out of the evanescence of the passing of clouds, or of youth, that time in which, as Doris Day sings, whatever will be, will be

The only one of these four shorts whose the title doesn’t have a direct relation with its theme (Do you remember "Kalkitos", the trademark of action transfers, back in the 80s? Well, there's none of them here) presents, with an artificial mise en scene, as if it were a deformed imitation of a silent film, a guy in his twenties who feels like he’s still a child, and wants to play with others of his own (supposed) age

In the heart of Portugal, amid the mountains, the month of August is abuzz with people and activity...

Scheherazade narrates three more tales, supposedly selected from the 470th, 484th and 497th nights of her ordeal: “It hath reached me, O auspicious King, that a Judge will cry instead of giving out her sentence. A runaway murderer will wander through the land for over forty days and will teletransport himself to escape the Guard while dreaming of prostitutes and partridges. A wounded cow will reminisce about a thousand-year-old olive tree while saying what she must say, which will sound none less than sad!

深受国际影坛瞩目的葡萄牙导演米格尔戈麦斯，继享誉国际的《金色八月天》、《禁恋》后，以长达383分钟的新作《一千零一夜》三部曲，呈现当代葡萄牙的众生相。首部曲《一千零一夜I：不安之人》以天方夜谭中诉说故事的皇后雪哈拉莎德展开，藉由三段故事描绘富人、穷人、强者、鲁蛇、小偷和诚实的人，如何在金融风暴下存活下来。米格尔戈麦斯结合现实主义色彩与冷调幽默的讽刺笔触，犀利批判政府的财政计画，令人大呼精彩。

2021 film directed by Maureen Fazendeiro and Miguel Gomes

Lisbon, Portugal, 2010. Pilar, a pious woman devoted to social causes, maintains a peculiar relationship with her neighbor Aurora, a temperamental old woman obsessed with gambling who lives tormented by a mysterious past.

「一千零一夜」最终曲《一千零一夜III：迷醉之人》，皇后雪哈拉莎德再次现身，因担心失去说故事的能力，计画逃离皇宫，并述说最后的故事。米格尔戈麦斯改以文字说明故事背景，将影像赋予诗意，令此片富有文学性与民族色彩，并透过纪录片式的观察，呈现荒谬之中的凄凉写实，为当代葡萄牙留下了不可言喻的浮世意象。