According to Sigmund Freud: “Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways”. “Umbral” materialises the moral dilemma of whether there is a cause and effect link between trauma and criminal behaviour.
In the mid-20th century, a troubled relationship between Germana, a young writer, and Quina, her aunt who lives in the northern Portuguese countryside. Feelings of jealousy, admiration and the complex magnetism between these two strong women arise.
On one side, a bunch of crooks. On the other, two sisters. Nothing unites them except an idea: to relieve the bank account of an old man, who happens to be the sisters' father. The crooks devise a plan to gain his trust and swindle him. The sisters make plans for the last years of their father's life without neglecting the small detail of the inheritance. Each one in their own way, they all dream of the possibilities that the old man's money could bring them. But this one will not be easy prey.
Ara has always believed she will vanish when she turns 28 years old. As her birthday approaches, she submerges in the most fundamental sensations of existence. A masterful debut film from director-writer Ágata de Pinho, whose performance leads her character from trauma to catharsis in the most beautiful way.
During a night of humiliation, Raymond lives an inner revolt and a kaleidoscopic journey in a country that is about to collapse.
In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.
Romeu, a corrupt cop, hires the services of Cid and Alex, to catch a notorious criminal, who left Mexico and is on his way to Galicia, Spain to find the killer of his brother, also trying to catch the same criminal is an FBI agent.