A web of relationships in each character, which may not match with the self identity fiction seems to ensure. In a way, the characters live in a constant state of mild amnesia: the inevitable ‘who am I?’ is widened and transforms itself, echoing in a plural and disturbing ‘I don’t know who you are’. – 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
This film has everything i hate in portuguese cinema. What happened Lopes? you used to be cool.
nada de especial. não há filme. repuseram o filme de novo, mas sem a curta inicial. tá muito fraquito. de evitar. não há nada. nem sequer é um filme-testamento ou assim. é mesmo mau, tudo rísivel e bacoco. mau demais. odiei mesmo. e eu gosto do Lopes, mas enfim o homem tava a morrer. é pena. a morte dele mas ainda mais este último filme. não sei. não gostei nada nada nada...é tão mau quanto o trailer...e sabes que me dói bater nos tugas mas este não se selva. tudo muito pela rama. há lá uma coisinha ou outra. e eu até gostei muito do Sorrisos do Destino agora este estava muito off mesmo...irritou-me.