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Voted the Best “Undistributed” Film of 2025 by @filmcommentmagazine, Kamal Aljafari’s WITH HASAN IN GAZA opens May 29th at @metrograph. New trailer out now.

“Every second of this documentary is an archive of presence, demanding recognition and remembrance.” @_e_d_b_, @newleftreview

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

**Big Announcement**

We’re honored to be distributing—for the first time in North America—the work of the great Portuguese filmmakers António Reis and Margarida Cordeiro, with new restorations of their three feature films set in the isolated, near-mythical Northeast of Portugal: Trás-os-Montes (1976), Ana (1982), and Rosa de Areia (1989).

A theatrical tour of the restorations kicks off with ‘António Reis & Margarida Cordeiro, Restored,’ a retrospective running from May 8 - 17 at @tiff_net Cinematheque. More retrospectives are planned in the U.S. & Canada in 2026.

Largely unknown outside Portugal, Reis (1927-1991) and Cordeiro (b. 1939) are revered figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across a small yet luminous body of work, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, and dreams of the land and people of Portugal’s remote Northeast, a region called Trás-os-Montes. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro’s work evokes the deep, cyclical time of folk tradition. Their films are a collision of documentary and poetry, fact and fantasy, the ancient and the avant-garde—a vertigo of contradictions at once harmonious and sharply unreconciled. Admired by the likes of Jacques Rivette, Marguerite Duras, João César Monteiro, and Joris Ivens, Reis and Cordeiro continue to exert a powerful influence over Portuguese cinema, notably in the work of Pedro Costa, a former student of Reis.

Restorations courtesy of @cinematecaportuguesa.

Watch an exclusive trailer for Alexandre Koberidze’s Dry Leaf, shot entirely on an old Sony Ericsson phone 🎥

The film opens at @filmlinc starting March 20. Add to your watchlist at the link in bio.

“Home movies are archives in the mundane sense, but the footage operates the same way, too. It is rarely the construction of the images themselves that matter as much as the ties to their subjects and the distance between the recording and the viewing. A kid bounces at the edge of the pool, seeking attention before leaping in. In documentary, it is all the ensuing history that demands we scrutinize the frame as if for clues of what will come to pass. Whatever its evidentiary value, it is what the archive cannot bear witness to, yet still implies, that produces its own importance.”⁠
⁠
—Blair McClendon (@lil_theory) on With Hasan in Gaza, playing at Metrograph from May 29.

“Home movies are archives in the mundane sense, but the footage operates the same way, too. It is rarely the construction of the images themselves that matter as much as the ties to their subjects and the distance between the recording and the viewing. A kid bounces at the edge of the pool, seeking attention before leaping in. In documentary, it is all the ensuing history that demands we scrutinize the frame as if for clues of what will come to pass. Whatever its evidentiary value, it is what the archive cannot bear witness to, yet still implies, that produces its own importance.”⁠
⁠
—Blair McClendon (@lil_theory) on With Hasan in Gaza, playing at Metrograph from May 29.

"This is my first film, which I have never made." 📹 WITH HASAN IN GAZA opens at @metrograph on May 29. Director Kamal Aljafari @kamalaljafarifilm at select screenings. Link in bio.

In search of an old prison mate, Aljafari traveled Gaza in 2001 with a local guide, Hasan, and caught bits of everyday life there on three MiniDV tapes. Recently rediscovered, these tapes now hold a memory of a Gaza that no longer exists. Through its fragments of seaside landscapes, its playful and fearful street scenes, and Gazans' reflections on life under siege, WITH HASAN IN GAZA meditates on the painful uncertainty carried by violence and the passage of time.

A @cinemaguild release.

"This is my first film, which I have never made." 📹 WITH HASAN IN GAZA opens at @metrograph on May 29. Director Kamal Aljafari @kamalaljafarifilm at select screenings. Link in bio.

In search of an old prison mate, Aljafari traveled Gaza in 2001 with a local guide, Hasan, and caught bits of everyday life there on three MiniDV tapes. Recently rediscovered, these tapes now hold a memory of a Gaza that no longer exists. Through its fragments of seaside landscapes, its playful and fearful street scenes, and Gazans' reflections on life under siege, WITH HASAN IN GAZA meditates on the painful uncertainty carried by violence and the passage of time.

A @cinemaguild release.

"This is my first film, which I have never made." 📹 WITH HASAN IN GAZA opens at @metrograph on May 29. Director Kamal Aljafari @kamalaljafarifilm at select screenings. Link in bio.

In search of an old prison mate, Aljafari traveled Gaza in 2001 with a local guide, Hasan, and caught bits of everyday life there on three MiniDV tapes. Recently rediscovered, these tapes now hold a memory of a Gaza that no longer exists. Through its fragments of seaside landscapes, its playful and fearful street scenes, and Gazans' reflections on life under siege, WITH HASAN IN GAZA meditates on the painful uncertainty carried by violence and the passage of time.

A @cinemaguild release.

Mezzanine and Now Instant are honored to present three Los Angeles premiere restorations by the singular Portuguese husband-and-wife team António Reis & Margarida Cordeiro, a poet and a psychiatrist whose beautiful collaborations were a major influence on their contemporaries, including Manoel de Oliveira and their student Pedro Costa.

“Largely unknown outside Portugal, filmmakers António Reis (1927-1991) and Margarida Cordeiro (b. 1939) are legendary figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across the four films they made together, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, dreams, and material realities of a land and a people: namely, the peasants of Trás-os-Montes in Portugal’s remote Northeast. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro conjure up the deep, cyclical time of folk tradition. Their films are a collision of the forces of documentary and poetry, fact and fabulation, the ancient and the avant-garde, a vertigo of contradictions at once harmonious and sharply unreconciled. Employing simple and direct means, their work is all the more mystical for being so concrete. ‘Here and nowhere else. Here and anywhere else’—this is the paradoxical space-time of their films, in the words of Serge Daney.”

Trás-os-Montes
António Reis, Margarida Cordeiro
1976, 111m
Tuesday June 9, 2026. 7PM

Ana
António Reis, Margarida Cordeiro
1982, 115m
Wednesday June 10, 2026. 7PM

Rosa de Areia
António Reis, Margarida Cordeiro
1989, 88m
Thursday June 11, 2026. 7PM

Tickets and full program notes available at now-instant.la

This program is presented with special thanks to Ed McCarry of Cinema Guild

June 9-11, 2026. 7PM

939 Chung King Road, Los Angeles, CA 90012

Mezzanine and Now Instant are honored to present three Los Angeles premiere restorations by the singular Portuguese husband-and-wife team António Reis & Margarida Cordeiro, a poet and a psychiatrist whose beautiful collaborations were a major influence on their contemporaries, including Manoel de Oliveira and their student Pedro Costa.

“Largely unknown outside Portugal, filmmakers António Reis (1927-1991) and Margarida Cordeiro (b. 1939) are legendary figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across the four films they made together, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, dreams, and material realities of a land and a people: namely, the peasants of Trás-os-Montes in Portugal’s remote Northeast. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro conjure up the deep, cyclical time of folk tradition. Their films are a collision of the forces of documentary and poetry, fact and fabulation, the ancient and the avant-garde, a vertigo of contradictions at once harmonious and sharply unreconciled. Employing simple and direct means, their work is all the more mystical for being so concrete. ‘Here and nowhere else. Here and anywhere else’—this is the paradoxical space-time of their films, in the words of Serge Daney.”

Trás-os-Montes
António Reis, Margarida Cordeiro
1976, 111m
Tuesday June 9, 2026. 7PM

Ana
António Reis, Margarida Cordeiro
1982, 115m
Wednesday June 10, 2026. 7PM

Rosa de Areia
António Reis, Margarida Cordeiro
1989, 88m
Thursday June 11, 2026. 7PM

Tickets and full program notes available at now-instant.la

This program is presented with special thanks to Ed McCarry of Cinema Guild

June 9-11, 2026. 7PM

939 Chung King Road, Los Angeles, CA 90012

“To live every second of your life in love, that’s difficult, maybe even impossible. But that’s what António Reis did.” - Pedro Costa

Starting this Friday at @tiff_net Cinematheque, see the films of the legendary Portuguese duo Margarida Cordeiro & António Reis in brand new 4K restorations. A rare and unmissable opportunity.

The first stop on a planned tour of their films across North America, in collaboration with @cinematecaportuguesa.

“To live every second of your life in love, that’s difficult, maybe even impossible. But that’s what António Reis did.” - Pedro Costa

Starting this Friday at @tiff_net Cinematheque, see the films of the legendary Portuguese duo Margarida Cordeiro & António Reis in brand new 4K restorations. A rare and unmissable opportunity.

The first stop on a planned tour of their films across North America, in collaboration with @cinematecaportuguesa.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

Cinema Guild has acquired the restored films of António Reis and Margarida Cordeiro for theatrical and home-video releases, beginning with a retro @tiff_net next month. Read the exclusive news at the link in bio.

“I remember what [Otar] said in what I believe was his last interview: ‘Filmmaking is a way to let an unknown friend know that he is not alone.’ There’s no better inspiration for me to make more films.” - @koberidzealexandre

We’re delighted to announce our acquisition of new 4K restorations of films by the great Georgian filmmaker Otar Iosseliani. Stay tuned for theatrical release announcements.

Described as “the true heir to Renoir, Tati, and Buñuel,” Iosseliani was a devout anti-confirmist whose lyrical, anarchic comedies are closer to musical composition than conventional narrative cinema. Employing long takes with minimal cuts and allowing his subjects to overlap and intertwine, his films are propelled by behavior, milieu, and witty observations of the everyday. In the words of critic Bernard Eisenschitz, Iosseliani cultivated the feeling that “every moment should be lived as an adventure.” Iosseliani achieved his breakthrough with Falling Leaves, a landmark of the new Georgian cinema, which won the FIPRESCI prize at Cannes Critics Week in 1967. His follow-up features—Once Upon a Time There Was a Singing Blackbird (1970) and Pastorale (1979)—solidified his status as “a watercolorist of everyday life” (Raphaël Bassan).

“I remember what [Otar] said in what I believe was his last interview: ‘Filmmaking is a way to let an unknown friend know that he is not alone.’ There’s no better inspiration for me to make more films.” - @koberidzealexandre

We’re delighted to announce our acquisition of new 4K restorations of films by the great Georgian filmmaker Otar Iosseliani. Stay tuned for theatrical release announcements.

Described as “the true heir to Renoir, Tati, and Buñuel,” Iosseliani was a devout anti-confirmist whose lyrical, anarchic comedies are closer to musical composition than conventional narrative cinema. Employing long takes with minimal cuts and allowing his subjects to overlap and intertwine, his films are propelled by behavior, milieu, and witty observations of the everyday. In the words of critic Bernard Eisenschitz, Iosseliani cultivated the feeling that “every moment should be lived as an adventure.” Iosseliani achieved his breakthrough with Falling Leaves, a landmark of the new Georgian cinema, which won the FIPRESCI prize at Cannes Critics Week in 1967. His follow-up features—Once Upon a Time There Was a Singing Blackbird (1970) and Pastorale (1979)—solidified his status as “a watercolorist of everyday life” (Raphaël Bassan).

“I remember what [Otar] said in what I believe was his last interview: ‘Filmmaking is a way to let an unknown friend know that he is not alone.’ There’s no better inspiration for me to make more films.” - @koberidzealexandre

We’re delighted to announce our acquisition of new 4K restorations of films by the great Georgian filmmaker Otar Iosseliani. Stay tuned for theatrical release announcements.

Described as “the true heir to Renoir, Tati, and Buñuel,” Iosseliani was a devout anti-confirmist whose lyrical, anarchic comedies are closer to musical composition than conventional narrative cinema. Employing long takes with minimal cuts and allowing his subjects to overlap and intertwine, his films are propelled by behavior, milieu, and witty observations of the everyday. In the words of critic Bernard Eisenschitz, Iosseliani cultivated the feeling that “every moment should be lived as an adventure.” Iosseliani achieved his breakthrough with Falling Leaves, a landmark of the new Georgian cinema, which won the FIPRESCI prize at Cannes Critics Week in 1967. His follow-up features—Once Upon a Time There Was a Singing Blackbird (1970) and Pastorale (1979)—solidified his status as “a watercolorist of everyday life” (Raphaël Bassan).

“I remember what [Otar] said in what I believe was his last interview: ‘Filmmaking is a way to let an unknown friend know that he is not alone.’ There’s no better inspiration for me to make more films.” - @koberidzealexandre

We’re delighted to announce our acquisition of new 4K restorations of films by the great Georgian filmmaker Otar Iosseliani. Stay tuned for theatrical release announcements.

Described as “the true heir to Renoir, Tati, and Buñuel,” Iosseliani was a devout anti-confirmist whose lyrical, anarchic comedies are closer to musical composition than conventional narrative cinema. Employing long takes with minimal cuts and allowing his subjects to overlap and intertwine, his films are propelled by behavior, milieu, and witty observations of the everyday. In the words of critic Bernard Eisenschitz, Iosseliani cultivated the feeling that “every moment should be lived as an adventure.” Iosseliani achieved his breakthrough with Falling Leaves, a landmark of the new Georgian cinema, which won the FIPRESCI prize at Cannes Critics Week in 1967. His follow-up features—Once Upon a Time There Was a Singing Blackbird (1970) and Pastorale (1979)—solidified his status as “a watercolorist of everyday life” (Raphaël Bassan).

“I remember what [Otar] said in what I believe was his last interview: ‘Filmmaking is a way to let an unknown friend know that he is not alone.’ There’s no better inspiration for me to make more films.” - @koberidzealexandre

We’re delighted to announce our acquisition of new 4K restorations of films by the great Georgian filmmaker Otar Iosseliani. Stay tuned for theatrical release announcements.

Described as “the true heir to Renoir, Tati, and Buñuel,” Iosseliani was a devout anti-confirmist whose lyrical, anarchic comedies are closer to musical composition than conventional narrative cinema. Employing long takes with minimal cuts and allowing his subjects to overlap and intertwine, his films are propelled by behavior, milieu, and witty observations of the everyday. In the words of critic Bernard Eisenschitz, Iosseliani cultivated the feeling that “every moment should be lived as an adventure.” Iosseliani achieved his breakthrough with Falling Leaves, a landmark of the new Georgian cinema, which won the FIPRESCI prize at Cannes Critics Week in 1967. His follow-up features—Once Upon a Time There Was a Singing Blackbird (1970) and Pastorale (1979)—solidified his status as “a watercolorist of everyday life” (Raphaël Bassan).

Trivia we're still REELing from: we will be screening a grand total of 27,800ft of film when we project Béla Tarr's THE TURIN HORSE (2011) on 35mm 🎞️ and THE MAN FROM LONDON (2007) on 35mm 🎞️ this week!

Join us through Thursday for Film at Lincoln Center's seven-film retrospective Farewell to Béla Tarr. 🎟️: filmlinc.org/tarr

✨ THE TURIN HORSE: 14,350 ft of film

✨ THE MAN FROM LONDON: 13,450 ft of film

h/t @zwickkatie

Trivia we're still REELing from: we will be screening a grand total of 27,800ft of film when we project Béla Tarr's THE TURIN HORSE (2011) on 35mm 🎞️ and THE MAN FROM LONDON (2007) on 35mm 🎞️ this week!

Join us through Thursday for Film at Lincoln Center's seven-film retrospective Farewell to Béla Tarr. 🎟️: filmlinc.org/tarr

✨ THE TURIN HORSE: 14,350 ft of film

✨ THE MAN FROM LONDON: 13,450 ft of film

h/t @zwickkatie

WITH HASAN IN GAZA
directed by Kamal Aljafari
Palestine, 2025, 108 min, DCP

West Coast Premiere

Fri, April 10
2:00 p.m. at @2220arts

Introduced by comedian and filmmaker Hisham Fageeh @hishamfageeh

Sat, April 11
7:45 p.m. at @now_instant

Introduced by literary critic and professor Saree Makdisi

A powerful archival document of the quotidian life of citizens in Gaza, Kamal Aljafari’s film is made entirely of MiniDV footage captured in 2001, during the early days of the Second Intifada. The filmmaker drives from north to south, walking through the markets and along the beach, as he searches for a man he met while briefly in prison as a teenager. Without editorializing or sentimentality, the film at times resembles an immersive tour of the city, while also capturing the city’s ever-present bombardment by Israeli settler forces. With the knowledge that many of the people and places we see on screen may no longer be extant, Aljafari’s film is a moving and devastating act of witness and of preservation. -MG

A @cinemaguild release.

Now through April 2, join us in wishing a fond farewell to Béla Tarr...

🎟️: filmlinc.org/tarr

The series brings together seven features, many in 2K and 4K restorations, tracing Tarr’s evolution from the bracing immediacy of his striking debut to the elemental starkness of his final work.

Few filmmakers reshaped our sense of cinematic time as radically as Béla Tarr. “Film isn’t the story,” he once said. “It’s mostly picture, sound, a lot of emotions.” Across a body of work at once severe and deeply humane, Tarr turned duration into structure, forging a cinema in which slowness and circularity exposed lives caught in unbreakable patterns. With his passing in January 2026, Film at Lincoln Center returns to a filmmaker who did not simply depict the pressures of modern life but made us inhabit them.

Now through April 2, join us in wishing a fond farewell to Béla Tarr...

🎟️: filmlinc.org/tarr

The series brings together seven features, many in 2K and 4K restorations, tracing Tarr’s evolution from the bracing immediacy of his striking debut to the elemental starkness of his final work.

Few filmmakers reshaped our sense of cinematic time as radically as Béla Tarr. “Film isn’t the story,” he once said. “It’s mostly picture, sound, a lot of emotions.” Across a body of work at once severe and deeply humane, Tarr turned duration into structure, forging a cinema in which slowness and circularity exposed lives caught in unbreakable patterns. With his passing in January 2026, Film at Lincoln Center returns to a filmmaker who did not simply depict the pressures of modern life but made us inhabit them.

Now through April 2, join us in wishing a fond farewell to Béla Tarr...

🎟️: filmlinc.org/tarr

The series brings together seven features, many in 2K and 4K restorations, tracing Tarr’s evolution from the bracing immediacy of his striking debut to the elemental starkness of his final work.

Few filmmakers reshaped our sense of cinematic time as radically as Béla Tarr. “Film isn’t the story,” he once said. “It’s mostly picture, sound, a lot of emotions.” Across a body of work at once severe and deeply humane, Tarr turned duration into structure, forging a cinema in which slowness and circularity exposed lives caught in unbreakable patterns. With his passing in January 2026, Film at Lincoln Center returns to a filmmaker who did not simply depict the pressures of modern life but made us inhabit them.

Now through April 2, join us in wishing a fond farewell to Béla Tarr...

🎟️: filmlinc.org/tarr

The series brings together seven features, many in 2K and 4K restorations, tracing Tarr’s evolution from the bracing immediacy of his striking debut to the elemental starkness of his final work.

Few filmmakers reshaped our sense of cinematic time as radically as Béla Tarr. “Film isn’t the story,” he once said. “It’s mostly picture, sound, a lot of emotions.” Across a body of work at once severe and deeply humane, Tarr turned duration into structure, forging a cinema in which slowness and circularity exposed lives caught in unbreakable patterns. With his passing in January 2026, Film at Lincoln Center returns to a filmmaker who did not simply depict the pressures of modern life but made us inhabit them.