Notícias

Miguel Gomes’ stunning “Grand Tour” is a trek through yearning, spanning both time and space.

The film, which premiered at Cannes in 2024 where Gomes won Best Director, was later acquired by Mubi for release. “Grand Tour” takes it title in stride: The film begins in 1917 Burma, where British diplomat Edward (Gonçalo Waddington) ditches his fiancée Molly (Crista Alfaiate) after getting cold feet before their nuptials. Edward instead sets off on a pursuit across Asia, with Molly following suit.

The film is billed by Mubi as a “melodrama and screwball comedy with a cat-and-mouse chase between lovers.”

“Grand Tour” includes black-and-white period visuals with modern-day documentary footage to span from Saigon to Shanghai onscreen. The film was Portugal’s Best International Feature entry to the 97th Academy Awards.

“I think I’m really attached to Portuguese cinema,” Gomes told IndieWire. “Portugal doesn’t have a film industry. Because of the economical context,...

Miguel Gomes does not consider himself a genius like Alfred Hitchcock.

The 52-year-old Portuguese director’s ravishing, cross-continental, mostly B&W feature “Grand Tour” — a mix of drama and ethnology — won him the Best Director award at Cannes back in May and is now Portugal’s Oscar submission to the 2025 Oscars. According to Gomes, unlike Hitchcock, he cannot sit around a room and dictate innovative ideas for story arcs and shots.

Speaking with IndieWire at the Sunset Marquis in West Hollywood, in his first time in L.A. and on the first stop of his Oscars press tour amid the film’s upcoming release in France and Italy, the gracious, soft-voiced, sharp-eared Gomes said, “I have, in my case, to open the window, let the world come in, and react to it.” Cigarette puffs later, he said, “I have to catch butterflies.”

It’s fascinating to hear a modern master...

Alain Guiraudie’s “Misericordia,” Carlos Marqués-Marcet “They Will be Dust” and Yeo Siew Hua’s “Stranger Eyes” all won big at Spain’s auteurist haven Valladolid Film Festival on Saturday, in a second edition under José Luis Cienfuegos whose prizes served as a vindication of the changes he has wrought at the festival as well as an indication of some ways European arthouse is going.

All three directors’ awards build on prior upbeat reception. Playing Cannes Premiere, “Misericordia,” which scooped Valladolid’s best picture Golden Spike and its screenplay trophy, was hailed by Variety as a “darkly comic backwoods fable of pansexual desire and small-town sociopathy” which marks a “welcome re-embrace of the streamlined murdery perversities of his terrific ‘Stranger by the Lake.'”

The Valladolid jury, made up of Greek director Sofia Exarchou, Spanish actress Aida Folch, critic and editor Devika Girish, German producer Ingmar Trost and Spanish director and writer Luis López Carrasco,...

The 2024 edition of the Valladolid International Film Week, also known as Seminci, wrapped on Saturday (October 26), giving its top award, the Golden Spike, to Misericordia by Alain Guiraudie.

Misericordia tells the story of a man who returns to his hometown for the funeral of his former boss, the village baker, and decides to stay for a few days with the man’s widow, getting involved in a series of unexpected events.

Guiraudie also won the best screenplay award.

The members of the Valladolid jury, Greek director Sofía Exarchou; Spanish actress Aida Folch; American critic Devika Girish; Spanish filmmaker Luis López Carrasco...

Maura Delpero’s Venice Silver Lion winner Vermiglio has earned the Gold Hugo award in Chicago International Film Festival’s international feature competition, while Payal Kapadia’s All We Imagine As Light has won the Silver Hugo.

Vermiglio follows three sisters in an Alpine village in the latter stages of the Second World War as a deserter’s arrival has a profound impact on the community.

All We Imagine As Light was the first Indian film in Cannes Competition in three decades and follows two nurses who head off on a road trip.

Silver Hugos in the international feature competition...

The 2024 Chicago Film Festival shined a light on films that stretch the limits of storytelling. From Italy to Cape Verde, this year’s award winners drew viewers in with stories about family, identity, and resilience, along with fresh directing approaches and standout performances. Below are some highlights from the festival’s top prize categories.

Gold Hugo for Best Film: Vermiglio

Directed by Maura Delpero, Vermiglio tells the story of a young woman finding her way within a complex family in Italy’s scenic Alps. The film won the festival’s top honor for its attention to human details and beautiful visuals, capturing relationships that feel timeless.

Silver Hugo for Jury Prize: All We Imagine As Light

Payal Kapadia’s All We Imagine As Light explores choice and control across generations in a journey that invites audiences to confront life’s crossroads. It balances comfort with disruption and presents these choices with a relatable vulnerability.

Chicago – The 60th Chicago International Film Festival (Ciff) announced its competitive award winners on October 25th, 2024, and the recipient of The Gold Hugo in the International Feature Film Competition – the festival’s top honor – is Italy’s ‘Vermiglio” (directed by Maura Delparo), regarding a woman and family complexities in the Italian Alps.

Picking up the Festival’s Silver Hugo in the International Feature Film competition is a multi-internationally produced “All We Imagine as Light” (directed by Payal Kapadia). In the New Directors Competition, Mo Harawe’s “The Village Next to Paradise” is awarded the Gold Hugo, with Maryam Moghaddam & Behtash Sanaeeha “My Favourite Cake” receiving the Silver Hugo. The complete list of honorees is below.

“The winning films at the 60th edition of the Chicago International Film Festival reflect a broad diversity of subject, style, and geography,” said Mimi Plauché, the Robert and Penelope Steiner Family Foundation Artistic Director of the Chicago International Film Festival.

The Chicago International Film Festival is wrapping up its 60th edition by handing out its prizes. In fact, though the New York Film Festival has been around longer (it just wrapped its 62nd festival), Chicago is the longest running fest in North America to give out awards. And as you’d expect from this festival that’s especially focused on international film, its winners have also been standouts at Cannes and Venice.

The Best Film winner, or Gold Hugo, at the Chicago International Film Festival is Maura Delpero’s “Vermiglio,” a World War II drama centered in the Alps that drew praise out of Venice, though received a mixed reception from IndieWire. Italy has named the film its entry for next year’s Best International Feature competition at the Academy Awards. The previous three winners of the Gold Hugo at Chicago are Gabor Reisz’s “Explanation for Everything,” Hlynur Palmason’s “Godland,...

The European Film Academy has revealed the first tranche of film titles that members can consider for nominations for the European Film Awards, which take place on Dec. 7 in Lucerne, Switzerland.

The academy’s selection of 29 titles covers films that had their first official screening between June 1, 2023, and May 31, 2024. Further titles will be announced in September, which will include films that had their premieres in the summer and early autumn festivals, such as Locarno and Venice.

Among the selection are Jacques Audiard’s “Emilia Pérez,” Cannes’ best actress and jury prize winner, Miguel Gomes’ “Grand Tour,” Cannes’ best director winner, Yorgos Lanthimos’ “Kinds Of Kindness,” best actor winner at Cannes, Mohammad Rasoulof’s “The Seed of the Sacred Fig,” jury special prize winner at Cannes, Coralie Fargeat’s “The Substance,” best screenplay winner at Cannes, “Armand” by Halfdan Ullmann Tøndel, the Golden Camera winner at Cannes, Matthias Glasner’s “Dying,...

Cannes Competition titles The Substance, The Seed Of The Sacred Fig, and Emilia Perez are among the first set of titles recommended for nominations at this year’s European Film Awards.

Overall, 29 titles have been selected for the first stage of nominations by the European Film Academy Board. The selection includes films from 26 countries. In the coming weeks, the 5,000 members of the European Film Academy will start to vote on the selected films. The winners will be announced at the European Film Awards ceremony in Lucerne, Switzerland, on December 7.

To be eligible for a European Film Awards, films must be European feature films which, among other criteria, had their first official screening between June 1, 2023 and May 31, 2024 and have a European director. The rule book states that should a film director not be European, exceptions can be made if the filmmaker is “provided they have a European refugee or similar status...

MoreThan Films has secured international sales rights to Denise Fernandes’ feature debut “Hanami,” premiering next Wednesday in the Concorso Cineasti del Presente section of the Locarno Film Festival.

Set on a remote Cape Verde volcanic Island where most people are looking for ways to leave, “Hanami” is the story of Nana. Suffering from a strange illness, the young girl catches a fever and must journey to the foot of a volcano for treatment. There, she finds a world that blurs the lines between dreams and reality. Years later, when Nana reaches her teens, her mother reappears in her life.

Fernandes was born in Lisbon to parents from Cape Verde and grew up in Switzerland. A filmmaker for over a decade, her breakout came with 2020’s “Nha Mila,” which screened in competition at festivals such as Locarno and Uppsala and was nominated for best short at the Portuguese Film Academy Sophia Awards.

Exclusive: Mubi has snapped up multiple key territories for Portuguese filmmaker Miguel Gomes’ Grand Tour, following the film’s world premiere in Competition at Cannes where it won the Best Director prize.

The global distributor, streaming service and production company has acquired North America, UK, Ireland, Latin America, Germany, Austria, Turkey and India. The company will unveil release plans in the coming months.

Opening in Rangoon, Burma in 1918, the film follows British civil servant Edward Abbot (Gonçalo Waddington) who flees fiancée Molly Singleton (Crista Alfaiate) the day she arrives for their wedding. Determined to get married and amused by his move, Molly tracks him across Asia.

Grand Tour was Gomes’ first feature to world premiere in Competition at Cannes, after debuting previous critically-acclaimed films Arabian Nights in Cannes Directors’ Fortnight in 2015 and Tabu, which played in competition at the Berlinale in 2012, winning the Silver Bear.

Gomes co-wrote the screenplay with Mariana Ricardo,...

In our critics survey of the best movies at the Cannes Film Festival each year, it’s common to have the critics IndieWire’s polled disagree with the awards given by the festival jury itself. That is not the case for Cannes 2024. The best movies of the festival, picked by 55 critics, representing five continents, were topped by Sean Baker’s “Anora” in our poll, which, of course also won the Palme d’Or.

Last year, Jonathan Glazer’s “The Zone of Interest” topped our poll, differing from the Palme d’Or result, which went to Justine Triet’s “Anatomy of a Fall.” It must be said that voter enthusiasm in our poll for “The Zone of Interest” was even that much stronger: It received nearly half of all votes for best film. “Anora,” which stars Mikey Madison, received about a quarter of the overall votes for best film this time...

How much can we expect cinema to be fully legible? If history, culture, and existence itself are not so easily parsed, why should the films we make about them be? Is navigating this chaotic life not defined by the both wondrous and wearisome waves of the world crashing over us?

If there was ever a film to capture this, it would be the spellbinding though scattered “Grand Tour” from director Miguel Gomes. His latest is an expansive, sweeping work that bends time, space, genre,and form. It is a wholly uncompromising experience that dances with mirth and melancholy. Proving to be evocative in one moment and unrelentingly exhausting in the next, it’s as gorgeous to behold visually as it is hard to completely embrace thematically. And yet, if you abandon yourself to it by the end as one character says, you can catch glimpses of something spectacularly sublime in...

If Chris Marker and Preston Sturges ever made a film together, it might have looked something like Grand Tour, a sweeping tale that moves from Rangoon to Manila, via Bangkok, Saigon and Osaka, as it weaves the stories of two disparate lovers towards a fateful reunion. The stowaways could scarcely be more Sturgian: he the urbane man on the run, she the intrepid woman trying to track him down. Their scenes are set in 1917 and shot in a classical studio style, yet they’re delivered within a contemporary travelogue––as if we are not only following their epic romance but a director’s own wanderings.

Grand Tour, which delivered much-needed magic to this year’s Cannes Film Festival lineup, is directed by the one and only Miguel Gomes, the Portuguese filmmaker behind The Tsugua Diaries (an entertaining Covid joint from 2021), Arabian Nights (his epic 2015 triptych), and Tabu (a breakout from...

Our times are troubled, our burdens heavy, our passage through life often arduous and the bad kind of absurd. But for anyone feeling a pessimism creeping in like slow poison and taking the edge off any appetite for adventure, Portuguese singularity Miguel Gomes comes like a comet across the Cannes competition with “Grand Tour,” an enchanting, enlivening, era-spanning, continent-crossing travelogue that runs the very serious risk of infecting you with the antidote: a potent dose of wanderlust for life. “Abandon yourself to the world,” says one character, a Japanese monk prone to walking about with a wicker basket on his head, “and see how generous it is to you.” Abandon yourself to “Grand Tour” and reap similar, joyful rewards.

Monkeying around in time like a macaque in a hot spring, trundling through countries like a comically short-legged donkey on a jungle trail, yet somehow also peering down on the action...

Gabi Șarga and Cătălin Rotaru’s Where Elephants Go will world premiere at the second edition of Smart7, a travelling competition across seven European film festivals.

The titles, one from each festival’s respective country, will screen together at Transilvania International Film Festival; Poland’s New Horizons; Portugal’s IndieLisboa; Greece’s Thessaloniki; Spain’s Filmadrid; Iceland’s Reykjavik; and Lithuania’s Vilnius Iff Kino Pavasaris.

Where Elephants Go is the debut feature from Romanian duo Șarga and Rotaru, whose short film 4:15. The End Of The World screened in competition at Cannes 2016 and won the jury prize. It is...

Seven European film festivals have joined forces to launch an alliance called ’Smart7’.

Debut features by Austėja Urbaitė, Telmo Churro and Sebastian Mihailescu are among seven films selected by the ‘Smart7’ network of seven European film festivals for the first edition of its competitive section of films by emerging filmmakers.

The seven titles will be first shown together at the forthcoming Vilnius Iff (March 16-26), before being screened at IndieLisboa (April 27-May 7), Filmmadrid (June 6-11), Transilvania (June 9-18), New Horizons (July 21-31), Reykjavik (September 28 - October 8) and Thessaloniki (November).

A jury of university students from each country will decide on the winner of the €5,000 prize.

Selvajara

With what feels like the start of a new decade with one too many overlapping projects, Portuguese filmmaker Miguel Gomes finally laid the long-gestating Savagery to bed. Written by Gomes alongside The Tsugua Diaries co-director Maureen Fazendeiro, along with Telmo Churro and Mariana Ricardo, Selvajara is an adaptation of the Brazilian novel Rebellion in the Backlands by Euclides da Cunha. production companies include: O Som e a Fúria (Portugal), Shellac Sud (France), Bananeira Filmes (Brazil), Komplizen Film (Germany) and Piano (Mexico).

Gist: This is a chronicle of a bloody war that pitted the inhabitants of the hamlet of Canudos, led by their prophet, against the army of the young Brazilian Republic in 1897.…...

After crafting one of the most playfully inventive lockdown films with this year’s The Tsugua Diaries (co-directed by Maureen Fazendeiro), Portuguese director Miguel Gomes has ventured back into the world with two upcoming projects.

First up, Cineuropa confirms his upcoming feature Selvajaria is “in the can” after being delayed by the pandemic. “The imaginative gaze of filmmaker Miguel Gomes brings to the screen a fundamental text of Brazilian literature, Rebellion in the Backlands, Euclides da Cunha’s account of the 1897 war between the nascent Republic’s army and the native inhabitants of Canudos,” Locarno Film Festival noted. “This epic movie on the end of the symbiosis between humans and nature has faced major obstacles due to the complex political situation in Brazil, with a protracted pre-production phase that involves historical reconstruction of the village and close collaboration with the descendants of the Canudos.”

While we await a 2023 festival premiere for his latest,...

New feature from the ‘Arabian Nights’ director is co-directed by documentary filmmaker Maureen Fazendeiro.

Leading German sales company The Match Factory has acquired world sales rights to the upcoming feature by Miguel Gomes, the acclaimed Portuguese director of the Arabian Nights trilogy.

Co-directed by French documentarian Maureen Fazendeiro, Tsugua Diaries was shot entirely in 16mm during the Covid-19 lockdown in Portugal. The filmmakers are keeping plot details under wraps but describe it both as “a lockdown journal” and “also a fiction”.

It reunites The Match Factory with Gomes, having sold Arabian Nights, which debuted in Directors’ Fortnight at Cannes in 2015, and Tabu,...

Exclusive: This year’s Oxbelly Labs has set creative advisors including directors Maren Ade (Toni Erdmann), Mati Diop (Atlantics), Ulrich Köhler (In My Room) and Lulu Wang (The Farewell), as well as producer-seller Michael Weber, founder of The Match Factory.

The Lab is designer to offer promising international filmmakers the opportunity to work on their first or second feature script, as well as workshop and direct one scene from it, with guidance from industry mentors.

Led by Oxbelly’s artistic director and Greek filmmaker Athina Rachel Tsangari (Attenberg), the Lab is being hosted online this year.

Returning creative advisors include Paul Thomas Anderson (Phantom Thread), Michael Almereyda (Tesla), Ritesh Batra (Photograph), Lisa Cholodenko (Olive Kitteridge), Willem Dafoe (Tommaso), Naomi Foner (Running On Empty), Nick Kroll (Big Mouth), Jeff Nichols (Loving), Olivier Père and Eva Stefani (Manuscript).

The Labs were established...

Arabian Nights — Volume 3, The Enchanted One

Written by Miguel Gomes, Mariana Ricardo, and Telmo Churro

Directed by Miguel Gomes

Portugal, 2015

In spite of its seemingly monumental ambitions, Miguel Gomes’s Arabian Nights has never been in danger of being weighed down by pretensions. From the opening minutes of Volume One, Gomes has maintained an effervescent tone, albeit one tamed somewhat in the darker Volume Two. Even there, Arabian Nights keeps its focus on its main subject: the Portuguese people, and the ways in which they’ve felt the impact of austerity. As such, Gomes’s film always true to itself and never seems to stray from the director’s vision.

With all that in mind, even if the segment which comprises the bulk of Volume Three, titled “The Inebriated Chorus of the Chaffinches,” would seem meandering and aimless in a different film, the documentary-like footage feels perfectly suited to Gomes’s aims.

Arabian Nights — Volume 2, The Desolate One

Written by Miguel Gomes, Mariana Ricardo, and Telmo Churro

Directed by Miguel Gomes

Portugal, 2015

After a joyous, energetic opening, the second installment of Miguel Gomes’s Arabian Nights, subtitled The Desolate One, takes a turn, appropriate to its title, for the darker. The humor which makes the opening such a blast certainly hasn’t entirely disappeared, but it’s become more subdued, and at times even cruel.

The shift in tone is evident from the beginning of the first story, “Chronicle of the Escape of Simao ‘Without Bowels,’” which, in spite of the similarity its title bears to the jocularity of “Volume One,” aims for a more meditative tone. The title refers to an aging fugitive (Chico Chapas), on the run after murdering four women (including his wife and daughter), who hides from police drones and creates a hedonistic paradise for himself amidst barren land.

Arabian Nights

Directed by Miguel Gomes

Written by Miguel Gomes, Telmo Churro, and Mariana Ricardo

2015, Portugal

As each separate volume stresses in its title sequence, this is not an adaptation of the original book Arabian Nights. While it’s not a surefire adaptation, Miguel Gomes’ series certainly takes a lot from it, including the structure (which the films admit to) and the lead character of Scheherazade. Ultimately it uses the basis from the original Arabian Nights to provide commentary on a period in Portugal in which the country faced economic and political turmoil. Gomes’ Arabian Nights trilogy includes Volume One – The Restless One, Volume Two – The Desolate One, and Volume Three – The Enchanted One. Each volume consists of three stories, with a prologue in volume one. While the film captures the epic quality of the novel, Gomes takes the idea of adaptation to a new level, capturing the essence of...

Arabian Nights — Volume 1, The Restless One

Written by Miguel Gomes, Mariana Ricardo, and Telmo Churro

Directed by Miguel Gomes

Portugal, 2015

From a simplistic description, Miguel Gomes’s film Arabian Nights could sound unbearably self-important. Taking its name from a foundational collection of folk literature and running at a total of over six hours, the film almost sounds like a parody of arthouse excess. Add in the political goals of depicting life in contemporary Portugal under the pain of its economic collapse, and the mere concept of the film threatens to implode in self-seriousness.

But in spite of this, the first segment of Arabian Nights (it’s being screened in three parts), subtitled The Restless One, maintains a whimsical tone throughout which quickly puts to rest any fears of pretentiousness. The film is funny, fast-moving, and too jocular to let accusations of self-importance stick. Not that Gomes doesn’t have serious ambitious for his project,...

Arabian Nights Volume 2: The Desolate One

Directed by Miguel Gomes

Written by Miguel Gomes, Telmo Churro, Mariana Ricardo

Portugal / France / Germany / Switzerland, 2015

Miguel Gomes showed up the Director’s Fortnight screening of the second part of Arabian Nights wearing a t-shirt and Benfica football scarf and started off by rambling about his favourite team’s newly won championship title. Something about Gomes is disarmingly charismatic and sincere – you could tell the rugged look was not an act but rather Gomes was just being himself. And amazingly, despite the thick layers of surrealist imagery and narrative convolution, there is a quality in his Arabian Nights enterprise that comes across as totally sincere.

Volume two runs at just over two hours and, on paper, sounds like a load of pretentious claptrap – there is no unified plot but rather the structure is built around three disconnected episodes with various degrees of narrative development.

Neil Armfield.s Holding the Man, Simon Stone.s The Daughter, Jeremy Sims. Last Cab to Darwin and Jen Peedom.s feature doc Sherpa will have their world premieres at the Sydney Film Festival.

The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.

Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.

Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.

As previously announced, Brendan Cowell...

Arabian Nights

Director: Miguel Gomes// Writers: Miguel Gomes, Telmo Churro, Mariana Ricardo

Miguel Gomes’ 2012 film Tabu managed to elevate the Portugeuse filmmaker’s international status when it picked up two awards at the Berlin film festival that year, and had a hand in at last making his 2008 Cannes premiered sophomore feature Our Beloved Month of August at last available for DVD consumption in the Us. Experimentally inclined, Gomes next tackles the famed Arabian nights tale but abandons all except for the structure to depict a modern Portugal in peril under Troika control. It’s the most ambitious treatment of the material since Pasolini adapted Arabian Nights back in 1974. We’ll be expecting stunning musical interplay and visually innovative sequences.

Cast: Carloto Cotta, Joana de Verona, Adriano Luz

Producer: O Som e a Fúria

U.S. Distributor: Rights available

Release Date: Rumored to be aiming for a Spring 2015 release, we’re...

Exclusive: German sales team launches experimental Miguel Gomes drama at Efm.

German outfit The Match Factory has begun talking to buyers at the Efm about Tabu director Miguel Gomes’ latest project Arabian Nights (As 1001 Noites).

Gomes’ film transposes contemporary Portugal - beset by economic crisis - into the structure of the famous collection of folk tales One Thousand and One Nights, also known as Arabian Nights.

Stories within the film will be based on real stories taken from news and press in Portugal during the production period.

The one-year shoot started in early December 2013 and will continue throughout 2014.

The cast includes Adriano Luz, Carloto Cotta, Rogério Samora, Diogo Dória and Crista Alfaiate.

Co-writers include Tabu writer Mariana Ricardo and Tabu editor Telmo Churro. Uncle Boonmee cinematographer Sayombhu Mukdeeprom is also on board.

The production has also created an online blog (www.as1001noites.com/en) for the film featuring contributions from Portuguese journalists and illustrators.

O Som...