António Escudeiro

Alentejo 1975. The Police associate a group of traveling players with a strike of agricultural workers. The action takes place in the open space and harsh heat of the Alentejo. With the connivance of Lianor, the troupe enters the palace of Don Gonzalo an old aristocrat. The gentleman is obsessed by visions of great past deeds in a universe of ghosts. This was the first example of militant cinema in Portugal after the end of the Estado Novo dictatorship, exploring the world after the Carnation Revolution and its contradictions.

This film, made as a "twin" of A ilha dos amores, was planned as a poetic documentary on the enigmatic life of Wenceslau de Moraes (1855-1929), the great Portuguese writer who lived in the Far East. Verbal testimony, photographs, manuscripts, images of Lisbon, Macao, Kobe and Tokushima in Moraes' time are set side by side with A ilha dos amores and with de Moraes' writings. The director, Paulo Rocha, visited places where Moraes was still remembered, interviewed the writers descendants, consulted archives, rummaged through memories, appointment books, postcards, diaries and calendars from the private life of the 19th century. And above all he set out on a new journey, from Lisbon to Macao to Kobe until he reached Tokushima, where Moraes lived through the final ruin of his life and where Rocha tracks down, between the city and the cemetery, the living presence of places and the memories of individuals.

A photographer travels around Portugal, Madrid and LA and finds a bunch of exquisite characters.

Set four years after the Portuguese revolution and the simultaneous loss of the Portuguese empire in Africa, the story concerns a director who sells guns to finance his play.

António Escudeiro was born, grew up and worked in Angola until the day when he was forced to leave. He swore he would return. But his return home only took place thirty-two years later. "Goodbye, See You Tomorrow" is the documentary of that return, in which there is a crossing and confronting of two visual universes: the director's memories and today's Angola.

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.

The film documents the places where the Portuguese painter Maria Helena Vieira da Silva (1908-1992), and Hungarian Arpad Szenes were born, met, and lived together, painting, and living to each other.

"Kilas" (a Portuguese misrepresentation of the English word "killers") is the nickname of a petty con-man who gets involved with a deadly ring of spies.