Edgar Pêra

No description available.

During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.

The city during the beginning of cinema. The typical city at the time of the dictatorship. The New Lisbon of the New Cinema. Lisbon after the Revolution. The white city of foreigners. A geographical and moviegoer screenplay of Lisbon through the images of films and testimonies of several filmmakers who filmed in Lisbon.

A bizarre and tragic ballad of an impossible love between a nameless topographer and Leonor in a swamp soon to be destroyed by the forces of Man. She (Teresa Salgueiro, ethereal voice of Madredeus) is the “swamp-flower”, protégée of a Socratic Director (and his goat Plato). In a world without women, she is kept safe from the temptations of the flesh by her strict and grotesque Aunt. The sound-track entirely played by the workers (fado and bossa nova singers) reveals parallel narratives of suspicion and conspiracy that unfold to the pace of the unconscious leading to a confrontation between Man and River. Inspired by a hypnotic story by Branquinho da Fonseca (1905-1974).

No description available.

“Manual of Evasion LX94” is a thought-provoking Dadaist film about time by the Portuguese director Edgar Pêra. It was shot in Lisbon in 1994 and stars Terence McKenna, Robert Anton Wilson and Rudy Rucker. Time is explored from many unusual angles, while Pêra fills the screen with a wide variety of bizarre and mind-warping imagery.

No description available.

An experimental and surreal film, a mix of weird and unusual "avant-gard" cinematography with some traditional icons of the Portuguese culture, like Fado or the typical neighbourhoods of Lisbon, in this case the "Bica" is a typical neighbourhood which is used as setting to the plot.

João is a writer who one day wakes up suffering from a bout of selective amnesia: he can't remember that he's gay. So he decides to reject his partner of five years and he plunges into a new, unexpectedly hetero life. But, as the saying goes, it never rains but it pours: João also has a creative block, and is incapable of finishing his latest novel. Isabel, his rival in the literary world, is suffering from a similar case of writer's block. After a night spent together, Isabel steals João's novel and tries to publish it as her own.

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

A series of deeply personal short films centered around the debut album of the musical duo Pornographie Exclusive (Severine Cayron and Jerome Vandewattyne). It is a cinematic, musical, and surreal journey that follows two stoic outlaws as they wander through a world suspended between end and beginning, dream and reality. Their road trip leads them through strange places and encounters with lost souls, immersing them in both absurd and philosophical reflections. Shot in a guerrilla filmmaking style with a warm, grainy look, each poetic tableau of their adventure weaves together the different segments of this unique anthology directed by international filmmakers. In these parallel realms, it is not the story that inspires the music, but rather the music that gives birth to the stories.

He was the most prolific within the New Portuguese Cinema generation. He would try western spaghetti, esoteric allegory, supernatural, and science-fiction. Without state subsidies, he would quit filmmaking in the 1990s. Who remembers António de Macedo?

A school inspector travels to the baron’s fiefdom to write a report on a heathen teacher. Having arrived, he is invited to stay with the baron, who makes predictions about women, horses and politics while the mysterious Idalina serves food and drink. The inspector becomes inextricably entangled in the baron’s world.

This movie bring us a story about a woman named Laura (Marisa Cruz) that lives in a small portuguese town during the 50's. Tired of living in such a small town she travells to a bigger town, in which she'll have the opportunity to feel free.

A poetic film that celebrates the work of Alberto Pimenta, fruit of a friendship and complicity maintained during the last 24 years.

A 14-year-old kid, addicted to videogames, goes with his parents to a shopping mall and separates from them to go to a game store called UTOPYA. He doesn't come back. His parents get in despair, and his father tries everything he can to bring him back.

A triptych of short stereoscopic films by Peter Greenaway, Jean-Luc Godard and Edgar Pêra. Includes "The Three Disasters" by Godard, "Cinesapiens" by Pêra and "Just in Time" by Greenaway.

Lovecraft and Pessoa were among the most influential writers of the 20th century. Cartas Telepáticas is a film, created with AI images, that explores the invisible links between the unique points of view of these two authors

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.