Edgar Pêra

It is with images of Domingos de Oliveira Santos, a surgeon turned filmmaker, that Edgar Pêra composes a mosaic that goes beyond home videos, rushing beyond them.

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.

Short documentary about football (soccer) supporters in Portugal

In 1988, Lisbon’s Chiado was ravaged by a fire; now, some of the highest real estate property prices in Portugal are paid for a piece of this Álvaro Siza Vieira-renovated area. Reproduta interdita was one of Pêra’s first (and certainly weirdest) works to deal with the aftermath of this disaster.

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.

Terrence McKenna: "What is real is you and your friends and your associations, your highs, your orgasms, your hopes, your plans, your fears." Aleister Crowley: "I am divided for love's sake, for the chance of union." Pessoa: "We never love anyone. What we love is the idea we have of someone." A music-text-collage-trance.

A movie by Edgar Pêra.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

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.

On All Saint’s Day 1755, around 09:40 hours, Lisbon was hit by an earthquake which eradicated almost the entire city. 345 years later (D.T. = depois de terramoto) means 2100 AD. Will Portugal’s capital be a Garden of Earthly Delights when we reach the year 2100? Pêra’s animation classic provides unexpected (in)sights about it.

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

A journey through the 80’s music scene in Portugal, gathering archive material shot and edited by Pêra, showing the filming process of music videos, concerts, band rehearsals and the last concert presented at the Rock Rendez Vous. Echoing the revolution, art is, at last, in its free form.

A reserved student joins a radical organization in early 1980s Portugal and is shot and lynched following a bank robbery, while a filmmaker leaves the group to pursue guerrilla-style cinema.

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 story about character created by Reinaldo Ferreira (1897-1935), action reporter, mystery novelist and emotion journalist.

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

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 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.

Braga’s Estádio Municipal was erected for the EURO 2004 championships. So can it be a surprise that the first association this all-seater arena provokes is a Roman circus, with a disconcerting Estado Novo-finish? Is FIFA therefore the Quinto Império realized, and its former president Sepp Blatter The Hidden One having an identity crisis?

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.

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.

“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.

Seven competing reporters are assigned to cover the Carnavael de Torres Vedras in Lisbon. Each of the seven tries to attract as much audience as possible to their broadcast. The situation escalates at a masked ball.

Death is the great equalizer, if only due to the rites celebrated by the living. And thus, after their earthly existences ended, Ioannes Paulus PP. II. and Communist revolutionary-turned-politician Álvaro Barreirinhas Cunhal suddenly had a lot in common. Two funerals, one soundtrack. Lots of questions.

Cine-diaries about rock bands and personalities from the eighties from the archives of Edgar Pêra.