Pedro Frias

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No description available.

The Portuguese Carnation Revolution of April 25th seen by a women perspective.

Vidago Palace has the background of the year 1936 and tells us a love story between two young people from different classes, ready to face all obstacles.

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No description available.

In 1496, King D. Manuel prohibited Judaism. 400 years later, Barros Basto, a Portuguese army captain converted to Judaism, and about twenty Jewish merchants founded the Jewish Community of Oporto, in the north of Portugal.

The story about the romance of Snu Abecassis and the former Portuguese prime minister Sá Carneiro.

Werner Schroeter directed this dark and surreal tale of a man determined to save a lost lover from a grim fate at the hands of a violent mob. The city of Santa Maria is falling into chaos as an armed military faction is poised to take power in a coup d'etat. Ossorio used to call Santa Maria home, and he has returned in its darkest hour to find the woman he loves, hoping to rescue her from the violence that is lurks around the corner. As Ossorio searches for his love, he meets Victoria in a shabby hotel, who in turn introduces him to her father Barcala, who for the right price is willing to take Ossorio and another passenger away on his boat. While Ossorio is willing to pay Barcala what he wants, can he find the mysterious woman before the ship sets sail?

The film is liberally inspired by the period when Eça de Queiroz was Portuguese Consul in Cuba, when still a Spanish colony. Eça de Queiroz struggles against local authorities in his defense of Chinese workers, brought to the sugar plantations by greedy middlemen and exploited as slaves. Two parallel stories unfold, that of a Chinese girl which Eça de Queiroz saves from the clutches of one of the island’s most powerful slave owners, and the other of a romance involving a young American woman on holidays in Havana.

Marta and Jorge have been a couple for seven years. All their friends think they are living a perfect romance. Too perfect, perhaps, for the despair of all: Bruno, who is much younger than Marta but madly in love with her; Lígia, who is Bruno's sister and Marta's best friend and would love to see her brother happy; Carlos, Jorge's friend, who maintains a superficial romance with Lígia while secretly in love with Marta; and for Jorge himself, who is afraid this idyllic romance will imprison him and, convinced that his love and his lover's desire to marry will take away his freedom, decides to show her the way into Carlos arms.

In an ominous Lisbon courtyard where the last executioner of the kingdom once lived, an accident is waiting to happen. After a patient game of who's observing who, four characters will collide with dire consequences. Inspired by the novel The Damned Yard by Nobel Prize-winning Bosnian writer Ivo Andrić, this is a masterclass in slow cinema, a pure 16mm cinematic pleasure by André Gil Mata.

A fine arts student struggles to finish his master's thesis while dealing with his father, an experienced blacksmith, who after visiting a contemporary art museum, decides to become a sculptor.

Nina is a 16-year-old girl who lives in a rural neighborhood of Oberá (Misiones, Argentina). She works on the farm and in the village to support her family, which prevents her from attending school. One day, she is enticed to travel to the capital by a job offer as a nanny, offering a good salary and the opportunity to study. She shares this dream with Lourdes, her Paraguayan cousin from a marginalized neighborhood in the city of Encarnación, who receives a similar offer.

In the 1960s, António, an agent of the PIDE, is assigned to follow Aurora to Paris, a young woman suspected of oppositionism. It is May 1968, and during the student revolt, the two young people fall in love. Back in Porto, their forbidden passion ends abruptly. For decades, António writes Aurora letters that she keeps unopened. When the correspondence is unexpectedly interrupted, both give up on life. Based on the director's novel entitled "A Casa Azul" (The Blue House).

From Manet's painting – Le Déjeuner sur l'herbe – two women and two men slip from the timelessness of the museum into our present day. They have come to picnic and enjoy a pleasant swim in the river. The men approach them and, with little attempt to conceal their aggressive libidinous intentions, threaten the happiness of the moment, the serenity of the place, and the integrity of the bathers. This fragment of Eden and everything around it is inhabited by a naturalized social violence...

A homeless couple occupies a house whose owners are absent. There is a mysterious connection between them and the house that prevents them from leaving it.