Abstract
Since the middle of the 80s two tendencies associated with filmmakers of a distinct handwriting can be singled out in World Cinema: new realism and the essay-film. Next to directors of international prestige such as Jean-Luc Godard, Abbas Kiarostami, Harun Farocki, Apichatpong Weeresethakul and Gus van Sant, names of equal importance from the Lusophone world can be added: the Portuguese M…