Beginning from a desire to rekindle a historical connection that began in the 1940s, Batalha has invited Cineclube do Porto to revive the format of the matinees that took place here for several decades, through an interpretative programme of the history and role of the Cineclube for the city and the country, from its foundation to the present day. Every second Sunday, we host screenings dedicated to key moments in the life and practice of Portugal's oldest active film club.
In September, we'll revisit Japanese cinema with two films that share the theme of a woman's place in Japanese society: a masterpiece by Yasujiro Ozu — which, despite its importance, was never included in previous Cineclube cycles — and Yasuo Furuhata's first film.
In October and November, we revisit the cycle Women in French Cinema, presented in 1988, now reimagined with films by two female directors who expand the reflection on female representation: Peppermint Soda, by Diane Kurys, a sensitive portrait of adolescence, and Vivre ensemble, the directorial debut of Anna Karina, a major figure of the Nouvelle Vague.
To conclude the year, we propose a journey into the world of westerns and their influence on other cinematographies. The highlight is the classic Johnny Guitar, by Nicholas Ray, one of the rare westerns with a female protagonist (Joan Crawford), screened several times by the Cineclube over its 80 years. Accompanying it is Sergio Corbucci's The Mercenary, one of the most memorable titles of the spaghetti western genre.
Curated by Cineclube do Porto
Fear, Roberto Rossellini
–
Beginning from a desire to rekindle a historical connection that began in the 1940s, Batalha has invited Cineclube do Porto to revive the format of the matinees that took place here for several decades, through an interpretative programme of the history and role of the Cineclube for the city and the country, from its foundation to the present day. Every second Sunday, we host screenings dedicated to key moments in the life and practice of Portugal's oldest active film club.
In September, we'll revisit Japanese cinema with two films that share the theme of a woman's place in Japanese society: a masterpiece by Yasujiro Ozu — which, despite its importance, was never included in previous Cineclube cycles — and Yasuo Furuhata's first film.
In October and November, we revisit the cycle Women in French Cinema, presented in 1988, now reimagined with films by two female directors who expand the reflection on female representation: Peppermint Soda, by Diane Kurys, a sensitive portrait of adolescence, and Vivre ensemble, the directorial debut of Anna Karina, a major figure of the Nouvelle Vague.
To conclude the year, we propose a journey into the world of westerns and their influence on other cinematographies. The highlight is the classic Johnny Guitar, by Nicholas Ray, one of the rare westerns with a female protagonist (Joan Crawford), screened several times by the Cineclube over its 80 years. Accompanying it is Sergio Corbucci's The Mercenary, one of the most memorable titles of the spaghetti western genre.
Curated by Cineclube do Porto
Full programme
Late Spring, Yasujiro Ozu
Pretty Devil Yoko, Yasuo Furuhata
Thérèse, Alain Cavalier
Peppermint Soda, Diane Kurys
Vivre ensemble, Anna Karina
Johnny Guitar, Nicholas Ray
The Mercenary, Sergio Corbucci
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