One of the most recent sections of Curtas, Revisited Cinema intends to keep the cinephile memory alive.

In recent years, we have witnessed a crescendo of the rediscovery of film history. The definition of new standards for the cinematographic industry and distribution, as well as for domestic consumption, will not be unrelated to this fact.

The definition and quality of digital media has been increasing, as has the technological paraphernalia that allows the digitization and restoration of copies. Curtas knew how to live with the evolution of formats and supports, while still having enough aperture to meet all technical requirements, from the projection of 16mm and 35mm films at various speeds, sometimes even copies of nitrate film, all video formats and, more recently, digital cinema.

This technical capacity remains in place, which allows for a more in-depth work on the essential points of cinema memory.


Since the program of the first Curtas, a reflection is proposed on the role of film festivals in relation to the construction of memory, highlighting the most authorial cinema, sometimes focusing on the most consecrated filmmakers, sometimes revealing the work of practically unknown filmmakers in Portugal.


For the 2022 edition, Curtas prepared two tributes to two enormous filmmakers who continue to appear on the margins of traditional cinema histories: the work of the Portuguese António Campos, recognized as the father of Portuguese ethnographic cinema.

Frenchman François Reichenbach, forgotten name of the Nouvelle Vague generation, received an unprecedented retrospective designed in co-production with Casa do Cinema Manoel de Oliveira, from the Serralves Foundation. Still under the idea of discovery, the FILMar session rescued some forgotten works, filmed in coastal areas near Vila do Conde.

Revisited Cinema 2022 also remembered the work of Alain Resnais and Pier Paolo Pasolini, marking the centenary of their birth: the Frenchman with a session filled with unmissable shorts which are already classics; and the Italian through the exhibition "Theorem", prepared by Laurent Fiévet.

Also featured a program designed by the critic João Lopes, that matched films by Resnais and Reichenbach. Finally, one of the highlights of the lineup was the return of Francis Ford Coppola's classic "The Outsiders" (1983), now in an immaculately restored 4K copy that includes new scenes and an altered and expanded soundtrack.