The Portuguese director’s first feature film points to a palimpsest of cinephile references that never cloud Pedro Costa’s authorial imprint. In this film, Vicente and Nino’s life becomes even more unmoored after the abandonment of their father. Clara tries to help them, but it’s a world where survival is a constant struggle. With Pedro Hestnes, Nuno Ferreira and Inês de Medeiros.
A western with Errol Flynn and Ann Sheridan that tells the story of the soldier Mike McComb, the determined Georgia Moore and Silver City, where McComb opens a thriving saloon. The film, based on a story by Stephen Longstreet, is known for not having an ending — declared as finished by the studio before it was completed, due to the bad behavior of its stars that led to increased production costs.
The last film by German director F.W. Murnau, it was produced by Robert Flaherty, in turn responsible for Nanook of the North (1922), the first successful feature-length documentary in American cinemas. This film is divided into two parts, “Paradise” and “Paradise Lost”, showing the experience of a couple on a Polynesian island, colonized and explored by western France.
A classic of Portuguese cinema that marks the emergence of Paulo Rocha and the New Cinema wave. Júlio (Rui Gomes) and Ilda (Isabel Ruth), two working-class youngsters trying to make it in Lisbon, will see their relationship marked by tragedy.
Três Dias Sem Deus is the first feature film directed by a woman in Portugal. It is also a film that premiered at Cannes, despite being panned by national critics. And it’s a work of which only an incomplete fragment remains, yet it still allows us to pay her homage.