Susana de Sousa Dias (Portugal, 2009). Susana de Sousa Dias and Nuno Lisboa in conversation. De Sousa Dias's remarkable, hypnotic film is composed of photographs taken upon the arrest of political prisoners during the forty-eight years of the Portuguese dictatorial regime. (93 mins)

Susana de Sousa Dias (Portugal, 2009). Susana de Sousa Dias and Nuno Lisboa in conversation. De Sousa Dias's remarkable, hypnotic film is composed of photographs taken upon the arrest of political prisoners during the forty-eight years of the Portuguese dictatorial regime. (93 mins)

Salomé Lamas (Portugal, 2012). (Terra de ninguém). Introduced by Nuno Lisboa. A former mercenary in Mozambique, Spain, and El Salvador sits in an abandoned building, and tells the story of his life. “That you don't need more than one riveting talking head and a little intelligence to make a terrific docu is amply demonstrated by No Man's Land” (Variety). With Andreia Sobreira's short 1971–74. (110 mins)

Robert Bresson (France, 1959). A Parisian thief's anguish and redemption are played out in Bresson's austere yet compassionate reworking of Crime and Punishment. “It is one of those consummate works of art which in one flash pales everything you have ever seen . . . an unmitigated masterpiece” (Paul Schrader). (75 mins)

Rainer Werner Fassbinder (Germany, 1974). Fassbinder is the star of this powerful psychodrama in the guise of a fable, in which a good-natured prole wins the lottery and is skillfully, ruthlessly exploited by his wealthy boyfriend. A great example of the director's vision of "love as the most insidious instrument of repression." (123 mins)

Miguel Gomes (Portugal, 2012). Introduced by Natalia Brizuela. This mysterious work shifts from modern-day Lisbon to a Portuguese colony in Africa in the 1960s, from life lived to life remembered. “One of the most original and inventive-as well as trenchantly political and painfully romantic-movies of recent years” (Richard Brody, The New Yorker). (118 mins)

João Pedro Rodrigues, João Rui Guerra da Mata (Portugal/France, 2012). (A última vez que vi Macau). João Pedro Rodrigues and Johnny Ray Huston in conversation. Guerra da Mata and Rodrigues refer to their genre-shifting tribute to both multicultural Macao and von Sternberg's Macao as “an investigation disguised as a film noir.” “The Last Time is a movie to both get lost and to delight in” (Slant). (85 mins)