He doesn’t know her, she doesn’t know him, but somewhere on the highway between Lisbon and Porto, he stops to rest and there she is: as lost as he is. It is a truly fortunate encounter that perhaps is not so fortunate. Almost without any words spoken, they leave together in his car. And so follow the gas stations, and motels, the conversations and the silence, the revelations and the mysteries. They draw an interior route together without either of them knowing where it will lead. In any event, she hopes he will deliver her to a primordial place, an almost mythical destination: her grandmother’s house. In its solitude, each of them can, quite simply, lose themselves, or perhaps, encounter each other. – CLAP Filmes
He surges in his generation, of budding directors rising up through the so-called “cine-club” movement, and acquires his first technical knowledge by working in television.
He graduated from the London Film School, which he attended in 1959-60, with a scholarship from the National Cinema Fund. After his return to Portugal, he pens Belarmino (1964), a film about the life of the pugilist Belarmino Fragoso, a film that is considered one of the key works from the Portuguese New Cinema movement, along with Dom Roberto by Ernesto de Sousa, and Os Verdes Anos (The Green Years) by Paulo Rocha.
In 1965, he spends a training period in Hollywood, where he remains for three months. Upon returning, he films A Bumblebee in the Rain (1971), adapted from the novel by Carlos de Oliveira and starring Laura Soveral; and along with O Delfim (2002), the two films are considered his greatest works. In 2006, he directs two films: 98 Octanes read more