Estado Novo (New State), was established after the 28 May 1926 coup d’état, marked by an anti-parliamentary and anti-liberal conception of the Portuguese state. In this sense, the New State ended the period of liberalism in Portugal, it not only covering the First Republic, as well as the monarchical constitutionalism.
The Estado Novo was a fascist system and that your system was also considered Salazarism, which refers to Antonio de Oliveira Salazar, the founder and leader of the Estado Novo.
As we all know, the fascist ideology was censor anything that is against the governament for its governance. It is likely that there censorship in cinema of Portugal, many films were banned or that never came be made. Some of the films were not censored, were patriotic films and Salazar’s propagandas, as in music, some musicians were required to support fascism and many communists were censored or imprisoned.
During this period totalitarian Portuguese cinema was not poor, on the contrary the state defended his Cinema. But biggest problem was the government of shit would not accept the filmmakers’ creativity. So that Portuguese cinema was a fantasy cinema, it was likely that there were only ordinary films of that time. In the 70 years before the Revolution of April 25, the filmmakers revolutionized the Portuguese cinema and that was born the new cinema in Portugal, even if censorship continued to kill the Portuguese Cinema. During the time of the great new cinema Portuguese movies were performed in a way independent production such as film António de Macedo (Disgust for Dogs – 1970 – Launched in 1970 and performed in 1969, for reasons of censorship) or great movie by Fernando Lopes (a Bee in the Rain – 1971).
Some films censored during the Estado Novo:
• “Catembe”, by Faria de Almeida.
• “O Barão” (the original 1943), de Valerie Lewton
• “Nojo aos Cães”, by António de Macedo
• “Sofia e a Educação Sexual” , by Eduardo Geada
• “Nem Amantes, Nem Amigos” , by Orlando Vitorino
• ” Índia”, by António Faria
• ”Grande, Grande era a Cidade”, by Rogério Ceitil
• ”O Mal-Amado”, by Fernando Matos Silva
• ”Deixem-me ao Menos Subir às Palmeiras”, by Lopes Barbosa
• ”Quem Espera por Sapatos de Defunto Morre Descalço”, by César Monteiro