Sweet Exorcist: While the young captains lead the revolution in the streets, Ventura gets lost in the woods.

Three young sisters are set apart by the eruption of Fogo.
But they sing.
One day we’ll know why we live and why we suffer…

曾在《錯的多美麗》中與張曼玉合唱的女星珍娜巴麗芭走出鏡頭之外，拾起麥克風站上了歌唱的舞台。片中隨她一路
穿過綵排、錄音間及演唱會，時而吟唱西部片《強尼吉他》主題曲，時而高歌奧芬巴哈喜歌劇「佩莉柯爾」。葡萄牙
名導佩德羅科斯塔以強烈對比的明暗光影，空間與時間、乃至於樂音全凝結在一格格膠捲上，錯置出一趟音樂旅程的
片刻凝視。

1997 film by Pedro Costa

Four voices and their visions of Guimarães, cradle city of the Portuguese nation and European Capital of Culture in 2012.

Six unused scenes from WHERE LIES YOUR HIDDEN SMILE? One of the more priceless of the "bagatelles" in this collection features a lounging Jean-Marie Straub who gives a non-stop disquisition on liberty and filmmaking while Danièle Huillet busies herself with laundry, and their dog Melchior frisks in and out of frame.

After the Portuguese government demolishes his slum and relocates him to a housing project on the outskirts of Lisbon, 75-year-old Cape Verde immigrant Ventura wanders between his new and old homes, reconnecting with people from his past.

1995 Portuguese drama film directed by Pedro Costa

Vicente, seventeen, lives with brother Nino, ten-years-old, and his ailing father in a derelict house on the outskirts of the capital. They don't seem to remember their mother, and are very much attached to their father, despite his temper, and his frequent absences from home. One day, the father leaves for good, and Vicente and Nino swear to cover it up. It's their secret. Clara, the primary school assistant, is fascinatingly beautiful, and secretive, and (may be) she knows it aswel. There are other secrets, though: the origin of the money that appears at Vicente's house; the relationship between Vicente's well-to-do uncle and his girlfriend; the relationship between the four people who once played the cards together, and now can't stand each other

An omnibus project examining, well, the state of the world.

Undaunted by a commission to make a film about his mentors and aesthetic exemplars, the filmmaking team of Jean-Marie Straub and Danièle Huillet, Costa records with great sensitivity and insight the exacting process by which the two re-edit their film Sicilia!, discussing and arguing over each cut and its effect. Incorporating comments about the influence of figures as diverse as Chaplin and Eisenstein, about the ethical and aesthetic implications of film technique and such matters as rhythm, sound mixing, and acting. The film becomes a tour de force, immersing us in the mysteries of cinema as practiced by some of its greatest creators. Costa calls the film both his first comedy and his first love story.

While the young captains lead the revolution in the streets, the people of Fontainhas search for Ventura, lost in the woods.

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

A Cape Verdean woman navigates her way through Lisbon, following the scanty physical traces her deceased husband left behind and discovering his secret, illicit life.