In a village inexplicable haunted by a plague of zombies, Lucio, an honest worker, is the only person who can fight then. He has matrimonial problems and hides Ana, his adorable wife, now ... See full summary »
Miguel Ángel Vivas
São José Correia,
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 ... See full summary »
Story of the 1974 coup that overthrew the right-wing Portuguese dictatorship--which continued the fascist policies of long-time dictator Antonio Salazar--and of two young army captains who were involved in it.
Maria de Medeiros
Maria de Medeiros,
Joaquim de Almeida
Every year, four ex-soldiers who call themselves "Os Imortais" ("The Immortals"), get together with four women to celebrate their war deeds and remember the old days, back in the war. On ... See full summary »
Joaquim de Almeida,
A woman takes her young son, leaves her husband and moves in with her lover. The boy, desperate to get his parents back together, becomes convinced that if only he can get his father's ... See full summary »
Teresa and Miguel, of 35 and 15 years respectively, get involved. Teresa is a doctor and, after a frustrated love life, she decides to abandon Lisbon and returns to her native land. When ... See full summary »
A man brings his wife and kids to their ancestral home in a superstitious village
As soon as the movie began, it was clear writer Rodrigo Guedes de Carvalho was going to exploit all the trappings of his culture. Roman Catholicism, possession, exorcism, village mentality versus city dweller mode of thinking, spiritualism, ghosts, family and superstition versus reality all come into play. The only problem is that we've seen these stories unfold in horrors repeatedly from a slew of other Western, as well as Asian, nations.
He does one thing, however, that is wonderful. The stereotypical villages that tell the city folk they don't belong or hate them outright isn't necessarily prevalent. Thankfully, with that hackneyed element not in the picture, I was able to indulge.
The acting was fairly strong, especially by Adriano Luz and Sara Carinhas, though Manuela Couto succumbed to be being far too melodramatic. The story maintained a solid pace with exceptional cinematography by Victor Estevão, capturing the atmosphere of the Monteiro homestead as beautifully as he did the lush countryside. Sadly, suspense and scares were sorely lacking and the end came as no shock.
Tag team directors Tiago Guedes and Frederico Serra have definite talent, and I hope they pick a stronger tale for their next outing.
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