It is the first feature film to portray the life of one of the greatest divas of Portuguese music.

It is a film that covers the life of the fado singer from her youth until her mature international superstar career, as the representative of Portugal in the world. This film is an excellent biopic of the singer, who owes much to the magnificent work of actress Sandra Barata. The composition that she made Amalia is sublime and depends not only on the wardrobe of the character, there's sadness in her eyes, which was evident in the singer. Maybe just so that she could sing so intimately and yet bitter. The script of Pedro Marta Santos and John Tordo is very good. The scene in which she leans over the abyss is something that surprises us, I believe that few people knew this fatalistic side of the singer's personality and at the same time is a scene of great aesthetic beauty. Her at the top of the world, reached the recognition of all, in the city that never sleeps and still she's alone. The passions and hatreds of the star are also part of this movie, because those, her men, also help to write the story of Amalia. Ricardo Carriço, is one such example, is a consecrated actor of the Portuguese art world and the proof is in his character his Cesar Seabra is exquisite. If you have not seen, and advise silence that fado is been sang. Good movie.

It is a feature film made with six hands. Six directors, six characters and six stories that intersect.

I hate doing bad reviews. I do not believe in merely negative criticism, but there are exceptions to the rule. This film is unfortunately one of them and it pains me to speak on the subject, because they are young who are starting their careers in cinema and this is their first test. The idea is very funny, original would be if Americans had not already applied the concept. It is the story of a garage band, their loves and existential dilemmas that are the true thread of this story. And the best I can say ends in this paragraph. You must think of my review as a constructive criticism. If the idea was to connect the lives of the characters it fails. It shows a clear distinction in some cases. The text is lacking. The script is so bad it hurts and I think it was this confusion that marked the work of the actors. Not good. I read that the film was selected for Raindance festival in London, even though they do not understand our language and it will be subtitled, perhaps for the best. In short, it would be a great film exercise if it had been more accurate. But the future is there and more to be expected of these young filmmakers and actors.

The taking of Santa Maria has the merit of showing one of the most important chapters of contemporary Portuguese history, at least one interpretation of this event, which is interspersed with a romance, but this imagined by screenwriters, between two young people who are caught by the political crossfire, in the middle of the Caribbean Sea. The film also ends up drawing a parallel, on one hand to portray a certain society at the time, very conservative and prejudiced that is confronted with its decline, through the heroic act will say some, not others, to challenge the regime of Salazar. And on the other hand, through, the vehement opposition of the father Alfredo Enes, a magnificent work of composition of the actor Victor North, the passion that his daughter Ilda has for one of the revolutionaries who hold the liner Santa Maria. Do not know if it was on purpose or not by the writers, to create this analogy because in both the regime and the character are exponents of a feudal society where the rights were restricted, particularly for women and that are questioned with this international incident. But this was so the case, I really liked that detail. The only negative side, I wish to highlight some of the scenes in general prolonged the deadlock, those endless dialogues between Galvao, Sotomaior and supporters of the initiative. Or maybe not. Maybe the idea was to create that feeling that anxiety among the public, but prolong the inevitable would be counterproductive in this case because everyone knows the final outcome of the assault, well at least in Portugal. I'll redo this last statement, well at least some knowledge Portuguese! I'm being ironic. Overall, the film is an ingenious approach to the complex chapter in the history of the country and the beautiful love story.

It's the adventure of two friends who decide to write about a fictional murder, or they thought, with unpredictable consequences.

The mystery of the road to Sintra is a literary duel written on four hands, one off the genius of Eça de Queiroz and other with his disturbing writing Ramalho Urtigão. The film is a fictionalized story of real event that took place in the summer of 1870. A challenge that ends up influencing the lives of both writers in so much unexpected turn of events. This feature film by Jorge Paixão da Costa is excellent. I liked the way the filmmaker intersperses the action, like chapters, the way we make an entrance to the both mundane living of this writers and the plot of the feuilleton progresses, as the lives of its creators complicates. The script is very good because it creates a certain cadence that culminates in moments of great suspense, sprinkled on a doomed love story, much like the romanticism of the time and was well integrated by the screenwriters. The historical background is very interesting because this is an industrial society; the emergence of the bourgeoisie is clear in this film and is well characterized. The all-star cast enhances the quality of this film, in general, as a whole are wonderful.

It's the debut of Miguel Vivas as a director. This film repeatedly won awards in international festivals

It is a very scary short film. It is the realm of the undead that invades a remote village somewhere in the country side, so it seems. It's a horror movie with a very black sense of humor. The opening scene is awesome. The character Lucius, a villager with a bad mood, decides to end permanently with an undead that it crosses the road. The way it's done take us back to a scene of an American action movie. Guess! Another curiosity of this little film is the chosen space. The geographical area. A locality, it seems before the XX century and of which we do not learn anything. Well, we know that is populated by zombies and there is only one pub. The makeup of the characters is excellent. Scares even the dead. The funniest aspect of this movie (here comes the very black humor), is the love triangle. The living-dead wife, Anna, who is jealous of her husband, Lucius, just because he decided to take home to the marital bed to fool around a bit with a very lively and sexy villager named Nancy. It's a very old short film, but in vogue due to the pace of the narration and the dialogues and my only regrets that it did not expand sideways and has turned into a feature film. It would have been memorable, I'm sure. But, you have to see it and judge for yourself. Good movie

http://filmesportugueses.com/ill-see-you-in-my-dreams/

It is the reunion of a generation disenchanted with the promised future. It is a story of self-discovery of the director, Telmo Martins.

A funeral in the rain is the story of a reunion of friends almost ten years after them finishing university. With this film we might even be tempted to initially establish an analogy with the no less famous, "Alex's friends' by Lawrence Kasdan, although the script begins the same way, a group of people who gather for the funeral of a friend physically absent in the narrative, the course of history converge in another sense. However, I do not discount the influence of his American film. It speaks of a disenchanted generation, which was not what they expected to achieve when designing their future on the banks of the university. It is a journey of self discovery, defined by the producer of the film and it is this aspect that makes this film so beautiful. Luis Campos's argument is well structured. We get to know each character and their professional and spiritual journeys as human beings. The flashbacks are important in this regard. We are witnessing a collapse of the "characters" created by then in college. Taboos and romantic ideals that were part of their youth. It makes us reflect on who we were, what we believed in and what we really are. As for the actors, this time I will not highlight any. All were up to the challenge. It may not seem like a film suitable for a summer, but appearances can be deceiving. Good movie.

At first Luis Ismael just knew h wanted to make movies. After engendered a surreal story with four characters who do not acknowledge the existence of internet or mobile phones. From what was meant to be a short film, expanded to the sides and became a box office phenomenon in our country. Eleven years later a third and final sequel of the "bullets and cookies," is scheduled for the end of the year. This young director feels that part of this mission is accomplished, the Portuguese laugh and went to the cinema.

When debuted the "Bullets and cookies," you had the notion it would be a success?

Luis Ismael: I'll tell you one thing, when did balas1, Portuguese cinema was residual; we noted that the Portuguese people did not care about anything. I never had the expectation of making that connection. What I wanted was to make a movie. "bullets and cookies" has been that experience. Let's see if I can do a film with few resources, or close to zero. I went into production without any expectation or even thought to put then cinemas. What I didn't want to built the dam, I just wanted to see the water running. And after finishing the film, we tried to put it in Fantasporto, so we did and we thought, ok, it's ready and eventually died here. However, then appeared an opportunity to show it on SIC Radical and then we noticed more involvement. The Internet also enabled us to have more feedback, but never thought I would achieve success and that could be within reach of people who follow it and talk it. But I'm glad because it is a Portuguese film, although there are still those who consider the film industry as a minor art. It is too easy to "beat" in the Portuguese cinema. I felt sad that there is no connection with the public. English cinema, Italian and American have their heroes, they attract teenagers to the movies and create the habit of watching then. Here there are no informal movies, fun. It is always very serious and few comedies when they appeared. In this context what interests me is to create products that take people to the movies and later create the appetite to see more dramatic ones.

After the success of the first movie, you decided to start production of the " bullets and cookies 2" a sequel to the same movie, something that has never before been done in Portugal. You know that at the time?

LI: We discovered this when the second was almost ready. I wondered at the time if there was a sequel and found out there was none, to my great regret once again, even in the XXI century there was nothing in the gender in Portuguese cinema. Why a second? Because basically, the four of us wanted to repeat the experience and be together, this time with a funny story. Then we created one and from there we start shooting.

In this sequel there was a difference, Lusomundo which undertook the responsibility to distribute to the various national cinemas.

LI: Yes, but before that, we went five months looking for a distributor. We started by tiny companies. We thought that by being a Portuguese film with a harsh language, we began by small distributors because they have more open minded. And it was precisely the opposite. Strangely. During this period there was even a general disappointment, we were not sure we put the movie and it was precisely the Lusomundo that decided to distribute. It was one of the most incredible moments of my professional life. Then it was a phenomenon in only five movie theaters, because there were only five copies and the whole process was amazing. I always thought that bullets was a fun movie, unbiased, and totally crazy and did not want to be politically correct. It's an honest film, because shows people natural talking and give the public what they want. I produce and then the public decides. And that is the mission of bullets. What is bad? We do it worse. Shaking a little bit the consciences. One must add that we do not take ourselves too seriously. We play with our Portugal. We have good things but also bad. You must play with these concepts, but it is still a light comedy for people to enjoy.

In this third and final chapter what will you do differently? There had to be an evolution, or not?

LI: People noticed that from the first to the second chapter the script was better. I will make a short parenthesis now if I may, the first bullet was to have been a short film. The idea was to put some friends around a table talking about atrocities. But I liked the characters so much that ended up growing sideways. The promise for the third? I promise, more diversity, more action, more adventure, more madness, and above all a more cinematic film with more characters. Many more scenarios. It is a film that ends the saga. It's almost like a big party of farewell and we hope that people come to the movie theater will be there two hours to give a few laughs. It is also a thank you to the public that have always supported us and believed and this is very important, did not forget us after seven years. That's what the "bullets and cookies" is. That group of people who gather together to watch the movie and have fun. Not something to be seen alone, it needs company.

It is a romantic movie with a very typical theme, directed by Antonio Pedro Vasconcelos.

This film has a very funny premise which is: a magazine photographer constantly chasing a television star in order to get compromising pictures, ends up falling in love for her, his "bread and butter" in a sort of speak. Love happens in a street of Lisbon. The beautiful and the paparazzi is a film that serves to unwind, it's fun and it's the typical romantic movie we all like to see. It's not a brilliant cinematographic exercise, but it reaches its goal is to entertain the spectators. At least it has a very positive approach, in my view, and has no unnecessary nudity, which in itself is commendable. What I liked best was the director carefulness to shoot in beautiful areas of the capital. The photography is lovely. Lisbon is always present around the corner, with its more modern architecture and also the spaces filled with older charm. We can say is the third character of this feature. The scene of two actors dancing in the plaza Pedro IV is very poetic, almost reminiscent of many scenes of La Dolce Vita of Federico Fellini without the bathing scene in the fountain, of course! The actress, Soraia Chavez is a compelling soap opera star who is the target of a relentless persecution of the tabloids. Marco D'Almeida is the other half of this unlikely romantic pair and has a secret he wants desperately to hide from his beloved. The performance of both actors is very good for the genre and Nuno Markl is a humorous counter-point that makes this movie a nice moment of cinema. Enjoy!

A comedy directed by Luis Galvao Teles and amusing for the simple fact that shows the tantrum of Portuguese towards the Spaniards.

It's a fun movie with no great pretensions, but is nevertheless illustrates the ambivalent feelings that Portuguese nourish about our neighboring country. In a mild form. High Waters is a Portuguese village in the interior earning worldwide fame by fighting a spanish multinational for possession of the registered name on the Internet. Are the new technologies that conquer our country, an "invasion" which poses no problem for the Portuguese. The worst, the very worst, are the Spanish and this is the motto of a very modern comedy, because despite appearances and the IMF, we prefer to die than be part of Spain and that is a fact, and a giving.
The script is very funny and worth watching, although the critics at the time were a bit harsh with this film, I personally liked a lot. Just made me laugh. Then we have a wonderful cast that does the rest. The characterization of the villagers is excellent. How many of us know such villages, lost somewhere in the belly of Portugal? This time I will not highlight any actor, because it work very well in terms of group. Okay, I will mention one, Pedroi Alpiarça, having been one of his last performances and even now, a very funny Ignatius. The photography is magnificent, this contributed to the breathtaking scenery, for those who do not know, there is the village, called Dornes and is located 10 km from Ferreira do Zêzere in the district of Santarém. Good movie!

http://filmesportugueses.com/dotcom/

This film marks the return of director Jose Mário Grilo, after an absence of ten years.

These film breaths of its actresses, Beatriz Batarda and Debora Monteiro. In this context I will take a little detour, I once read an interview with Oscar-winning actress and genius Jodie foster surprisingly she stated that was always playing the same role throughout her long career. And that sentence struck me because we have the same impression on certain national and international artists, whether by choice or because they are labeled by the film industry in a certain way and cannot "escape" the stigma. All this to say what? The same goes with these two actresses that I mentioned earlier for different reasons. Beatriz Batarda can be excellent in many different roles, but this on particular I had the distinct impression of déjà vu. It is a contained and structured character, to the point that it is not a challenge for the actress. Debora Monteiro has a patent sensuality and limit's her in some ways, it seems "formatted" for this kind of femme fatale roles, which she is very good at, but she also deserves a different kind of challenge as an artist. I know it becomes difficult to choose in a country where film production is scarce and few opportunities are given, I understand.
I have not spoken nor of the argument nor of the male actors. Let's start with the last, Virgilio Castelo is consistent in everything he does, and his performance is safe. What makes me confused is Nicolau Breyner, the man is every wear. And with all, I mean almost every national film productions. I do not question the talent, but why they cannot invite another actor and not him?
The text is good but nothing special. By this I mean that the subject is a bit contrived and quite frankly do not understand this behavior, the constant need that Portuguese director have to show actresses in nude. And I'm not prudish! Imagine if it were.