Portugal chooses "The Metamorphosis of Birds" for Oscar

by Cláudio Alves

When reading the list of films shortlisted for the Portuguese Oscar submission, I confess I was a tad disheartened. Only two of the six films had even been released when the finalists were announced, and I only had watched one of them. The other happens to be a project that reeks of exploitation, which I wasn't enthusiastic about promoting. At least, the film I did see, Catarina Vasconcelos' The Metamorphosis of Birds, was one I loved, going so far as voting for it as one of the best unreleased films on last year's Team Experience Awards. As luck would have it, the voting body responsible for the submission fell for it too…

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Cannes at Home: Day 8

by Cláudio Alves 

What an exciting day to be at Cannes this must have been. Asghar Farhadi unveiled a new picture to critical acclaim, with some even stating that A Hero is his greatest work since A Separation. In the main competition, Julia Ducournau also presented her sophomore feature, Titane. After Raw, the new film seems like it will continue the director's exploration on the limits of body horror. As for some sidebar prospects, Miguel Gomes opened his latest work in the Director's Fortnight. The Tsugua Diaries was co-directed with Maureen Fazendeiro and represents Gomes' first feature since Arabian Nights. Unfortunately, another project called Savagery remains incomplete since the pandemic forced the production to halt. In any case, for our homebound Cannes alternative, let's explore the past and best works from these filmmakers…

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Best International Feature: France, Portugal, Spain

by Cláudio Alves

Europe is the most represented continent in the history of the Best International Feature Oscar. However, while some of its countries are regularly honored, others have been submitting for decades without luck. France, for instance, is the reigning champion of the category, having been nominated forty times. In contrast, Portugal - my country – holds the record for the most submissions without a single nod. For this chapter in our trip through world cinema, we arrive at these two nations' 2020 submissions as well as Spain's Netflix contender…

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What will be Portugal's choice?

by Cláudio Alves

Just this weekend, I was singing the praises of Pedro Costa's Vitalina Varela. Lo and behold, the shadowy chamber drama is one of four finalists for Portugal's Oscar submission. A jury of the Portuguese Film Academy, made up of directors Gonçalo Galvão Teles, Lauro António and Monique Rutler, actors Isabel Abreu and Welket Bungué, and cinematographer Miguel Sales Lopes, has selected their finalists from a list of 33 eligible features. The quartet of lucky films are…

 

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Portuguese Cinema on Criterion

by Cláudio Alves

It's not often that one gets the opportunity to promote Portuguese cinema in these parts of the internet. Despite good reviews and some acclaim across the festival circuit, it's rare to find films from Portugal being discussed internationally. Even though I love my country's pictures, I find it difficult to justify writing a piece about them for The Film Experience, especially considering plenty of readers don't have access to said films. When the opportunity strikes, one can't waste it. 

Recently, the Criterion Channel has curated two collections focused on the works of Pedro Costa and João Pedro Rodrigues, some of Portugal's most important contemporary filmmakers [some NSFW images after the jump]...

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