Portuguese cinema has a long tradition, reaching back to the birth of the medium in the late 19th century. In the 1950s, Cinema Novo, (literally "New Cinema") sprang up as a movement concerned with showing realism in film, in the vein of Italian Neorealism and the French New Wave. Directors Manoel de Oliveira and João César Monteiro have gained Portuguese cinema international attention.
Portuguese silent film began its course on June 18, 1896, at the Real Colyseu da Rua da Palma nº 288, in Lisbon, as Edwin Rousby presented Robert William Paul's Animatograph, using a Teatrograph projector. This places the Portuguese début around six months after the Lumière brothers's inaugural presentation in Paris.
The Portuguese film genre of Comédia à portuguesa began in 1933, the year the Estado Novo was promulgated, with the release of A Canção de Lisboa. It dominated the country for the next two decades, trailing away during the late 1950s and eventually giving way to Cinema Novo in the 1960s.
Song of Lisbon has remained a classic Portuguese cinema and established the paradigms for the comedia tradition. Song of Lisbon, and the musical comedies were optimistic, innocent and good-humored.
The term Cinema Novo or Novo Cinema (New Cinema), in its early phase, 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 can 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, a contemporary to Robert Flaherty.
It is often Portuguese cinema is analised together with Spanish cinema as opposite.
In 2005, there were 13 Portuguese feature films released, one of them an animation co-produced with Spain, Midsummer Dream. The most successful film this year was O Crime do Padre Amaro, with more than 300 000 viewers, grossing more than 1.3 million euros. The following year, 22 feature films were release, five of them documentaries. The most successful film this year was Filme da Treta, with more than 270 000 viewers, grossing more than 1 million euros.
Films list for you:
O Crime do Padre Amaro (Father Amaro's Crime )- Carlos Coelho da Silva (2005)
Um Rio Chamado Tempo, uma Casa Chamada Terra - José Carlos de Oliveira (2006)
Um Tiro no Escuro (A Shot in the Dark) - Leonel Vieira (2006)
Dot.com - Luís Galvão Teles (2007)
Singularidades de uma Rapariga Loira - Manoel de Oliveira (2008)
Até Onde? - Carlos M. Barros (2008)
Portuguese films are one of the best, they often have everything what the films need to be satisfied after watching, so I suggest for you to see some of them if you will have some free time.