「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。

本部影片分为两个章节《失乐园》和《乐园》，讲述了女主人公奥罗拉（劳拉·索维拉尔 Laura Soveral饰）一生波澜壮阔的爱情史诗。喜怒无常的奥罗拉已经年迈，跟自己的黑人女管家住在一起。他们的邻居是一个叫皮拉（特蕾莎·马杜加 Teresa Madruga饰）的热心老妇人。皮拉常常向奥罗拉表达她的善意，可奥罗拉并不领情。在奥罗拉死后，皮拉跟女管家发现了她的一个秘密——一封她生前写给旧情人的信。皮拉决定把这封信寄给奥罗拉的情人，由此引出了奥罗拉一段尘封已久的往事——一段发生在非洲殖民地的难以忘却的爱情和冒险故事。
本片荣获2012年第62届柏林电影节阿尔弗莱德奖。德国默片先驱茂瑙在1931年拍摄同名电影，此次导演米格尔·戈麦斯向大师茂瑙致敬。

The Match Factory拿下[苏瓜日记](Tsugua Diaries，暂译)全球销售权。该片由米格尔·戈麦斯([禁忌])、莫琳·法曾德罗共同执导并编剧，马里亚娜·里卡多([禁忌])共同参与编剧工作。该片由克里斯塔·法亚特([一千零一夜第1部：不安之人])、卡里托·科塔([一千零一夜第1部：不安之人])、若昂·蒙泰罗主演，是一部虚构的隔离日记，全片使用16mm胶片在疫情期间的葡萄牙拍摄。

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。

代表葡萄牙参赛奥斯卡的《一千零一夜》二部曲《一千零一夜II：孤独之人》，不同首部曲的天马行空，改以沉稳的叙事反映社会现实，透过小狗「迪克西」的角度，看尽现代人的冷漠与伪善， 富饶趣味地包装社会议题，同时为寂寞带来全新语言。狗儿充满灵性、惊喜的表现，毫无悬念地夺得本届坎城影展「狗狗金棕榈」奖，超级吸睛。

影片以抒情的镜头语言叙述了葡萄牙一个城镇在八月来临时的生活画卷，折射出在全球化趋势业已不可抗拒的前提下，地区种族融合的种种现状。36岁的葡萄牙导演米格尔-格默斯十年来拍摄了五部电影作品，曾在奥伯豪森短片国际电影节上获得最佳影片。

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

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

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.

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

讲述20世纪初派驻缅甸仰光的大英帝国殖民官员爱德华在未婚妻莫莉到来当日仓皇落跑后的奇妙旅程。

An interpretation of the life of Francis of Assisi.