Lavagante

Christian, an art critic, must write a study on the painter René Dimanche in order to understand why he did not produce anything for eight years. He asks his friend Ingrid to help him break through this mystery.

An impossible love. Two young people who love each other. Vera and João can’t find in this life the space, time, or identity to resolve their love story.

Ema is a very attractive but innocent girl, so pretty that cars crash in her presence. In her youth she marries Dr. Carlos Paiva, her father's friend, to whom she is not attracted. They move to the valley of Abraham. Carlos loves her, but decides to sleep in a separate room to avoid waking Ema when he has to return late at night. As time goes by she begins to feel unhappy about her marriage, so she finds a new lover.

João Vuvu, lives alone in a house that requires regeneration but due to being alone he is unable to do the work. On his son's release from prison and João's ensuing deception triggers a series of somber events.

The life of a young man, son of an English officer who lets himself become a prisoner of love resulting in fatalism and disgrace.

After receiving a visit from a messenger of God, João de Deus wins his buddy's girlfriend through a roll of the dice.

The anniversary, celebrating the thirty years of the marriage of Francisco and Leonor Teixeira, celebrated on their family farm. It is time to party and everyone party with the Teixeira's. Well, almost everyone. Ricardo, the youngest son, does not speak with his father for five years.

This odd film is a major representative of an even odder film genre: direct-to-celluloid opera. It was commissioned by the Portuguese master of style, director Manoel de Oliveira from composer João Paes. Musically, it ranges from 19th-century romanticism to popular, modernist and even "post-modernist" styles. In the initially tame story, a host-narrator tells the story of a wedding between the two lovebirds: Viscount d'Aveleda and the beautiful Marguerite. However, what happens in the bridal chamber is incredibly bizarre. The events after that are even stranger, and the wedding guests and family indulge in cannibalism, among other perversions.

An ice-cream seller lusts after the female employees in his shop.

A film about General Humberto Delgado's brutal assassination by the Portuguese fascist police in 1965.

Portrait of the last days of the life of Portuguese writer Camilo Castelo Branco.

A loner, narcissistic and suicidal teenager attracts most of the people he meets like a fatal aura, a black light. He falls deeply in love with Teresa but does she exist or is she a mere figment, an image, a reflection? Teresa is an apparition. A pretext for an amoral violent uprising, for doomed love.

Olivier, Rémi and Pascale are three friends who have known each other since childhood. As they approach middle age, they each experience something of a crisis in their lives. Olivier, a doctor before becoming wheelchair bound, faces a bleak future after the break up of two relationships. The fact that Rémi and his wife Estelle are unable to have children puts an increasing strain on their marriage. And Pascale, a filmmaker, is on the point of leaving her husband to pursue an affair with an opportunistic career politician.

Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.

In 1918, Maria Adelaide Coelho da Cunha, heiress and owner of the Diário de Notícias, leaves the social, cultural and family luxury in which she lives to escape with a petty chauffeur, 26 years younger.

Two actors performing in Strindberg's "Inferno" as God and Lucifer, find themselves competing in real life as well. One of them, Max Monteiro, has spiritual obsession with John Wayne and his way of walking. He and Jean de Dieu, his fellow actor who plays Lucifer and also directs the Strindberg play, engage in a philosophical and spiritual tug-of-war, especially when they meet an author named God, who has plans for another drama to feature both actors.