This is an intriguing avant-garde look at what motivates the leisurely classes in Portugal, for better or worse, by director Manoel de Oliveira. Set in a spacious country home peopled with a wide-ranging cast of characters, the drama begins as the friends of a widow come to console her on the loss of her husband. But at one point, the widow goes upstairs, encounters her husband, and is faced with his accusations about the past. This event and others provide the means of revealing the petty, self-serving, egocentric, and romantic pursuits of the melange of people in the house. - Eleanor Mannikka, Rovi

A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

Joáo Bénard da Costa, director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director's power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of "The Annunciation" (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of 'Leonardo da Vinci', and the relationship between a trend-setter master and his disciples.

Freely based on Gide ('Paludes') and Hawthorne ('Wakefield'), this is a film about a writer who never wrote anything and who blows at nightfall the breath of frost. The poem by Carlos Queiroz to which the above sentences belong is not cited in 'O som da Terra a Tremer', but the atmosphere is that, between written letters never received. Fiction within fiction, stories within stories, like those Chinese boxes in which there is always one inside another. Or the two margins of the same river, always being lateral.

A story about doomed love between two people from different worlds and the impact in their lives. Based on the novel of the same name by Portuguese writer Camilo Castelo Branco.

An impossible love. Two young people in love. Vera and John can't find a space nor time, nor identity in this life that can solve this love. Apparently everything is beneficial to them, their families, friends and the land where they live. The issue is time. The time they don't actually have (studies, families, distant houses) and the time of their own life - being so young they are subject to what that life brought upon them, that's when the "story" of the film begins, therefore linked to a life that until then was not chosen by them. This is one reason, which leads to a runaway process. Escape in the possible return to this world.

Director Manuel Mozos draws an intimate portrait of João Bénard da Costa, programmer, critic, actor and, for 18 years, director of the Portuguese Film Museum, who passed away in 2009.

A small group of well-to-do vacationers go on a hiking trip into the woods just to find themselves mysteriously lost.