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The Best Jorge Cramez Directed Movies

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poster

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56

/3/

Marta and Jaime are a childless couple who have opted for the peace and quiet of the countryside. Without any surprise, they take in a neighboring child for a few days. However, a nocturnal visit from a strange animal shakes the couple’s logical reasoning about the simple things in life. Could the child have something to do with that terrifying presence? One of the effects of fear is to disturb the senses, making things seem different from what they are, and so, little by little, a fantastic order is established, triggering the most irrational and violent reactions in them. In the end, nothing will be the same for them again.

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20

/1/

N/A

poster

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6.0

/29/

70

/1/

50

/1/

N/A

poster

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5.5

/21/

50

/1/

As if she wasn’t there, indifferent to the boredom of the children around her, the teacher continues to write a poem by Camões on the blackboard. Valéria, Simão, Tomás and André exchange a glance and leave without anyone noticing it. They start running. Nobody runs like children. Run, run tiressly. Unknown landscapes, adventurous places, and… Nature: a new and intense place. Too fresh, too intense. Does Valeria and her companions have left the classroom or woke up inside a dream?

poster

58

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5.6

/172/

62

/4/

56

/5/

The darkness of night, a barely lit place, motorbikes flirting with danger: a group of teenagers at a crossroads playing chicken with unaware passing cars. Jota (Eduardo Frazão) stands out from this group, unclassifiable; his destiny has no straight lines save those on the asphalt. Jota lives in permanent conflict with everything and everybody in his small town. No room for stillness. And then comes Margarida (Ana Moreira). Jota has no inside, Margarida has no outside. In spite of, or because of, that, they meet. What can they do? They can just ride, they can get away with it even if its all messed up. Love is to be lived.

poster

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6.1

/58/

50

/2/

90

/1/

When almost everyone in their senses (or in their powers to do so so) has left a Western European Capital of millions of people under the threat of a colliding commet, a bar stays open in defyance. Two lovers are too self absorbed but not so much so that between drinks they cannot realise the barmen's infatuation with the lost girl who thinks she's just his last plaything and keeps playing jukebox songs (American/French-Italian/American) to that effect.

poster

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20

/1/

Several Portuguese creators occupy the director's chair in this collective short film shot during the COVID-19 pandemic shutdown in an unfolding of personal perspectives.

poster

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5.6

/79/

60

/2/

50

/3/

Marta and Jorge have been a couple for seven years. All their friends think they are living a perfect romance. Too perfect, perhaps, for the despair of all: Bruno, who is much younger than Marta but madly in love with her; Lígia, who is Bruno's sister and Marta's best friend and would love to see her brother happy; Carlos, Jorge's friend, who maintains a superficial romance with Lígia while secretly in love with Marta; and for Jorge himself, who is afraid this idyllic romance will imprison him and, convinced that his love and his lover's desire to marry will take away his freedom, decides to show her the way into Carlos arms.

poster

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4.8

/11/

Christmas Night. A man, a serial killer gets out in order to search another victim. The thoughts could be our own but the end is unpredictable.

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Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.

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Cinema and affections from life in images and what goes on outside the frame. 'Snapshots' of shootings and the present-day memory of directors, actors and technicians.

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