António Lopes Ribeiro

The most well-known fascist propaganda film in Portugal. A communist man falls in love with a woman of Salazarian beliefs and changes his way of looking at things.

The adventurous life of Portugal's epic poet, Luis de Camões.

Jorge, a successful engineer and employee of a ministry and Luísa, a romantic and dreamy girl, star as the typical bourgeois couple of the Lisbon society of the 19th century.

Seven years after the disastrous Battle of Alcácer Quibir, where King Sebastian and the nobleman Dom João disappeared, the latter's wife Dona Madalena de Vilhena finally gives up hope that he'll return and marries the knight Dom Manuel de Sousa Coutinho, with whom she has a daughter, who is afflicted by a fatal illness. Now only the tutor Telmo Pais retains the hope that the lost husband is alive, a premonition that may be confirmed after two decades, with the arrival of a mysterious pilgrim...

Two schoolboys, Carlitos and Eduardo, fight for the affection of a girl, Teresinha.

The first Portuguese documentary. A remarkable look at the lives of the working people of Nazaré, a fishing town in Western Portugal.

The story of how the conflicting relationship of Eduardo and vaudeville actress Isabel is affected by the passion he feels for their neighbor, Mariana, a young overprotected, and the unexpected visit of his uncle Plácido, a moral teacher.

Luís immigrated to the USA and intends to become an American. But after his father invites him on a journey to the Portuguese territories in Africa, he will find true love, and also learn to value his country and its colonial grandeur.

A portrait of the relations between neighbours in a Lisbon courtyard. A story made of small episodes of humour, friendship, rivalry, love.

Falacha is the captain of a fishing boat, who loses his men in a shipwreck. Among them was the husband of Aurélia, who holds Falacha responsible for the tragedy. Maria, Falacha's daughter, falls in love with Manuel, Aurélia's son, a situation that their mothers refuse to accept.

The fatalism caught up and the amorous tragedy between Teresa de Albuquerque and Simão Botelho, who survives the intolerant litigation of her noble families.

A love triangle set in Lisbon between German singer Nina, bullfighter Garrido and local girl Branca.

This remake of the 1940 film with the same name tells the story of a theatre company, its men and women in love, mistakes and misunderstandings. Chico loves Tatão, who is courted by Artur. Graça loves Chico, but doesn't know he loves Tatão. Santana writes a play for the Grandelinhas that will serve as a guide to Chico passion and convince Tatão that he is a rich count. The play is then staged and they all end up in prison.

While rehearsing the annual play, a clerk tries to regain the attention of his beloved, in a comedy of equivoques.

Interesting, almost ethnographic, sequences on peoples of southern and central Angola, show the diversity of their customs and the richness of their cultures. The images often of quality are not devoid of a dominant look that frames them as exotic. The Euro-centric commentary on the exaltation of “lusitanity” is rather paternalistic and even contemptuous: “All these peoples are Portuguese and love Portugal, what a wonderful destiny it is for this country that came to civilize them and lead them on the paths of spirituality after having opened the roads of the world.”

Caleidoscope of documentary-like scenes and re-enacted episodes of a day in the life of a large port town – Lisbon, from the old district around Saint George's Castle down to the docks and the 'Sagres' on the Tagus river, to the new commercial districts.

Evocation of Salazar's birth, his passage through Coimbra and salient facts of his political life.

Recent population growth in the capital leads to an ambitious development plan, involving public and private initiative as documented here, pinpointing over 60 locations (streets, roads, parks, schools) being modernized or built anew. The narrative and soundtrack are grandiloquent, in the propaganda style required by the Producer (the Municipal Council of Lisbon, then directly dependent of the national government), but the images and data are now of historical relevance.