Edgar Pêra

Six female apparitions emerge at a window with different views on the life and the personality of one António.

A school inspector travels to the baron's fiefdom to write a report on a heathen teacher. Having arrived, he is invited to stay with the baron, who makes predictions about women, horses and politics while the mysterious Idalina serves food and drink. The inspector becomes inextricably entangled in the baron's world. (International Film Festival Rotterdam)

The three directors explore the future of film and the limits of 3D: Godard's "The Three Disasters" is a challenging blizzard of images, sounds and texts; Greenaway's "Just in Time" explores each corner of Guimarães while Pêra's "Cinesapiens" is a playful sci-fi set in a movie theatre. The closing film of the Critics' Week sidebar of the Cannes Film Festival, 3X3Dis three times cinema in 3D, looking back at cinema itself. (IKSV)

Time is explored from many unusual angles, the narration sharing thoughts and new ways of looking at time, while the movie shows vignettes featuring actors acting out bizarre scenes, many of them expressionistic and comical. (The Worldwide Celluloid Massacre)

Pessoa famously published under many heteronyms: around 75 different names, each with fully fleshed-out backgrounds, styles, appearances and philosophies. Taking this a step further, Não Sou Nada gives flesh to these characters, all working together under Pessoa, enacted by Miguel Borges, at the publishing house The Nothingness Club.

One of the first shorts of Edgar Pêra, REPRODUTA INTERDITA, taking advantage of the “mítikas” Chiado ruins, after the fire, invents nurse Penelope Kruxis who wanders the aftermath in search of the origins of a “kontagyosa” mutation (cinemateca.pt).