A journey through 40 years of life of the most important Film Festival in Portugal, through the voice of its President and Director, Mário Dorminsky and Beatriz Pacheco Pereira. Born at a coffee shop table in the "Invicta" - Porto City, with a subsidy of 15 "contos" (75EUR), since 1981 it hasn't stopped bringing us cinema, and given its weight and peculiarity, The project developed and soon became a reality, with the screening of several sessions a day, the realization of retrospectives and, also, in parallel, the promotion of concerts and art exhibitions. It is considered the biggest film festival in Portugal, and internationally recognized as one of the most important worldwide, and is now entering its 40th edition.
A digressive quest, through conversations with various people, about the need humanity has always had to tell stories about itself, about the power and enchantment of fiction.
A retrospective on the life and work of Portuguese director António-Pedro Vasconcelos.
Parque Mayer was the park off all the emotions and amusements in the 1930' s. Under the dictatorship of Oliveira Salazar and his police, many people came to have fun in its theaters attending the portuguese kind of play called 'revista'. A writer called Mario Pintor (paintor) is writing a play in which a new actress (Deolinda) will star as the main role, while an already famous actor named Eduardo tries to seduce this recent arrival.
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?
Cristina disappears. Tiago, her boyfriend, says that she was kidnapped, two police officers (Marco and Madalena) investigate the case and try to find the truth.
A documentary about the world of portuguese cinema, with interviews with some critics and directors.
António-Pedro Saraiva de Barros e Vasconcelos (born 10 March 1939 in Leiria) was a Portuguese film director. He was a member of the Cinema Novo movement, which was heavily inspired by the Nouvelle Vague and Italian neorealism. Later his style derived to a more mainstream sensibility. Vasconcelos was famously a Benfica supporter.
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