The story of a child who faces the emptiness that surrounds the figure of his parents, disappeared in Africa.

A summer film. About summers. Two seasons splitting it apart by half a dozen years, the youth years – time it takes its characters to realise they’re getting lonely. Hellish summer ends and we’re on a little fishing village, river-side, in Lisbon’s south bank: people make life-changing decisions.

Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

The evocation of light in the cinema leads the Character of the Man of Light to ponder over it, over its essence and its multiple manifestations in a revisitation of geographical places and memories.

From our window one can see a set of the 1963 film The Green Years. This was our starting point: guided by Paulo Rocha’s gaze, we look back at the places of that film. The successive geological, urbanistic and social strata of Lisbon, besieged by the pandemic that interrupted the shooting, are drawn out in front of our camera, like a contemporary jazz impro from a score written in 1963.

The film was to be a documentary, but evolved during production to a fictional film. It nevertheless adheres strictly to the poems and letters exchanged by two of the most outstanding names of the Modernist Movement, Fernando Pessoa (in Lisbon) and Mário de Sá-Carneiro (in Paris). Their endless conversation was dramatically and suddenly terminated.

Lisbon, a normal day in one of the typical narrow streets of the capital of Portugal. In a small house, in a dirty little street, in a dark corner of the city lives a poor blind beggar, which earns his living through the selling of useless trinkets. The only curious situation is that the blind man keeps all his savings in a little black box donated to him by the government. It is through this box that the poor man proves his visual handicap. And it is this same BOX (a CAIXA) that is envied by all the blind man´s lazy neighbours who are jealous of the little money that is given to the poor man. The life on this (intentionally) excessive dramatic small world is suddenly turned upside down when someone steals the BOX of the blind man unleashing a chain of events that will have a surprising end.

An indirect autobiography of Paulo Rocha, through the character of a father, that explores family, opportunity, immigration and identity.

The comfortable daily routines of aging Parisian actor Gilbert Valence, 76, are suddenly shaken when he learns that his wife, daughter, and son-in-law have been killed in a car crash. Having to take care of his now-orphaned grandson, he struggles to go on with his lifelong acting career like he's used to. But the roles he is offered -- a flashy TV show and a hectic last-minute replacement in an English-language film of Joyce's Ulysses -- finally convince him that it's time to retire.

In 1917, outside the parish of Fátima, Portugal, a 10-year-old girl and her two younger cousins witness multiple visitations of the Virgin Mary, who tells them that only prayer and suffering will bring an end to World War I. As secularist government officials and Church leaders try to force the children to recant their story, word of the sighting spreads across the country, inspiring religious pilgrims to flock to the site in hopes of witnessing a miracle..

遠赴殖民地多年後歸來的阿德利諾終於回國，孰知迎接他的是找不著工作、討不到老婆、親友四散打工的家鄉。拖著工傷的身體，似乎連最簡單樸實的生活都顯得奢侈，阿德利諾該如何重新開始？雷斯學派宗師安東尼奧雷斯參與編劇、葡萄牙新電影繆思伊莎貝魯契主演，描繪後薩拉查獨裁統治時期葡萄牙鄉村的勞動場景與日常生活，並隱晦指涉殖民戰爭之惡果。

《葡萄牙之旅》根据真实的故事改编，是一部有关政治的电影，讲述欧洲的机场入关检查的不人道待遇。玛利亚是飞机上唯一一个被葡萄牙移民警察扣留和审问的乘客。当警察意识到，在机场等待玛利亚的那名男子是塞内加尔人的时候，这变成了一场噩梦。是非法移民还是贩卖人口？任何事情都是有可能的。

Nineteen-year-old Julio heads to Lisbon from the provinces and gets a job as a shoemaker for his uncle Raul. But when he meets Ilda, a confident young housemaid who becomes a regular shop visitor, his working-class values collide with the bourgeois trappings of modern life.

Having lost her place among the social elite, a widow remarries and starts a family.

1967 film by Pier Paolo Pasolini

Ema is a very attractive but innocent girl, so pretty that cars crash in her presence. In her youth she marries Dr. Carlos Paiva, her father's friend, to whom she is not attracted. They move to the valley of Abraham. Carlos loves her, but decides to sleep in a separate room to avoid waking Ema when he has to return late at night. As time goes by she begins to feel unhappy about her marriage, so she finds a new lover.

A photographer, Isaac is asked by hotel owners to take portraits of their recently deceased daughter Angélica. When he looks at her through the lens of his camera, she appears to come back to life just for him. He instantly falls in love with her. From that moment, he will be haunted by Angélica day and night.