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Film industry in Portugal

With the beginning of the Estado Novo right wing dictatorship in 1933, a new genre of film started, based on the comedy and musical genres, famously the "comédia à portuguesa", with the focus on contemporary life and light matters, and the intention of taking the minds of the people from the difficult times faced. 1942 saw the release of Aniki Bóbó, the first full length fictional film from Manoel de Oliveira, who would only return to fiction film making twenty one years later. It marked a milestone in Portuguese film not only because it differed from the tone most in vogue at the time, as it dealt with social issues, but also because it predated the first Italian neo realism movies by a few years. The Golden Age, as it is known, began that same year with the release of A Canção de Lisboa, and dominated the country for the next two decades. Other famous titles from this popular era are Aldeia da Roupa Branca (1938), O Pátio das Cantigas and O Pai Tirano (1941), O Costa do Castelo (1943), A Menina da Rádio (1944) and O Leão da Estrela (1947). During this period historic films also emerged as an important genre in the Portuguese industry, as a medium for the state party to develop its nationalist propaganda and conservative values, namely As Pupilas do Senhor Reitor (1935), Bocage (1936), Amor de Perdição (1943), Inês de Castro (1945), Camões (1946) and Frei Luís de Sousa (1950). A subgenre of these nationalist films were those related to the culture of Fado and the rise to popularity of Amália Rodrigues, the great name of Portuguese song. Some of those films were Capas Negras and Fado, História de Uma Cantadeira, both from 1947. Camões, directed by José Leitão de Barros, was an official selection at the first Cannes Film Festival in 1946.

The Fifties were mainly years of stagnation with the continuity of the same movies made in the earlier decades, government censorship and glorification of the colonial empire – see Chaimite (1953); although the first signs of the winds to come were being given by films like Saltimbancos (1951) and Nazaré (1952), both directed by Manuel Guimarães and inspired by the Italian neo realism. In 1958 opens the Portuguese Cinematheque with a retrospective of American movies that inspired the French filmmakers of the Nouvelle Vague, an event lauded by then new critics Alberto Seixas Santos e António Pedro Vasconcelos. In 1959 Portuguese Rhapsody, directed by João Mendes, was in competition for the Palme d'Or at the 1959 Cannes Film Festival.

The new decade brought a new generation of films, led by Dom Roberto (1962), Os Verdes Anos and Pássaros de Asas Cortadas (1963). The new phase was named Cinema Novo or Novo Cinema (New Cinema), and it refers to Portuguese cinema made between 1963 and the revolution in 1974 by directors such as Fernando Lopes, Paulo Rocha or António da Cunha Telles, amongst others. Like other new waves of the period, the influence of Italian Neo Realism and the burgeoning ideas of the Nouvelle Vague could be felt keenly. The term Novo Cinema is now used to avoid confusion with the Brazilian movement of the same name. This movement gains particular relevance after the Carnation Revolution, pursuing certain experiences of the French New Wave, both in the field of visual anthropology and of political cinema. The generation of the seventies, taking advantage of the new liberties, explores realism and legend, politics and ethnography, until the late eighties, in conjunction with some directors of the liberated colonies, such as Flora Gomes. Portugal has a notable tradition in the field of docufiction and ethnofiction since Leitão de Barros, who was a contemporary of Robert Flaherty. Films during this period also include Belarmino (1964), Domingo à Tarde (1965), Sete balas para Selma (1967) and O Cerco (1969). In 1973 The Vows, directed by António de Macedo, was in competition for the Grand Prix at the 1973 Cannes Film Festival.

A Ilha dos Amores, directed by Paulo Rocha, was in competition for the Palme d'Or at the 1982 Cannes Film Festival. Other accolades from this period include, in 1985 Manoel de Oliveira winning an Honorary Golden Lion at the Venice Film Festival; O Bobo, directed by José Álvaro Morais, winning the Golden Leopard at the 1987 Locarno International Film Festival; The Cannibals, directed by de Oliveira, in competition for the Palme d'Or at the 1988 Cannes Film Festival; and in 1989 Recordações da Casa Amarela, directed by João César Monteiro, winning the Silver Lion at the 46th Venice International Film Festival.

In 1994 Maria de Medeiros won the Volpi Cup for Best Actress at the 51st Venice International Film Festival for her work in Três Irmãos, directed by Teresa Villaverde. The Convent, directed by Manoel de Oliveira, was in competition for the Palme d'Or at the 1995 Cannes Film Festival. Po di Sangui, directed by Flora Gomes, was in competition for the Palme d'Or at the 1996 Cannes Film Festival. In 1997 Genealogies of a Crime, directed by Raúl Ruiz, was in competition for the Golden Bear at the 47th Berlin International Film Festival. The Letter, directed by Manoel de Oliveira, was in competition for the Palme d'Or and it won the Jury Prize at the 1999 Cannes Film Festival. Time Regained, directed by Raúl Ruiz, was also in competition for the Palme d'Or.

Notable accolades of this decade were I'm Going Home, directed by Manoel de Oliveira, in competition for the Palme d'Or at the 2001 Cannes Film Festival; The Uncertainty Principle, also directed by de Oliveira, was in competition for the same award the following year. In 2004 de Oliveira won an Honorary Golden Lion at the Venice Film Festival. In 2005, thirteen Portuguese feature films released, one an animation co produced with Spain, Midsummer Dream. The most successful film of the year was O Crime do Padre Amaro, with more than 300,000 viewers and grossing more than 1.3 million euros. The following year, 22 feature films were released, five of them documentaries. The most successful film that year was Filme da Treta, with more than 270,000 viewers, grossing more than 1 million euros. In 2006 there were 19 feature films produced. In 2007, 15, in 2008, 21 and in 2009, 23.

In 2010 Portugal produced 22 feature films. The next year, it produced 19, with the most commercially successful being Blood of My Blood by João Canijo with 20,953 views and a gross of €97,800. The share of native cinema at the Portuguese box office was 0.7%. On the artistic side, one of the most successful films was Joaquim Sapinho's This Side of Resurrection, which premiered at the Visions programme at the Toronto International Film Festival with a US premiere at the Harvard Film Archive in Boston. At the 62nd Berlin International Film Festival, in 2012, Tabu, directed by Miguel Gomes, was in competition for the Golden Bear and Rafa, directed by João Salaviza, won the Golden Bear for Best Short Film. The Lines of Wellington was in competition for the Golden Lion at the 69th Venice International Film Festival. As of 11 November 2012, the highest grossing Portuguese film of the year was Balas & Bolinhos O Último Capítulo with a €1.243 million gross, followed by Morangos com Açúcar – O Filme with €1.208 million.