An important precursor to Margarida Cordeiro and António Reis’s Trás-os-Montes, Campos’ portrait of a village in the same northernmost area was driven by a similar desire to capture not only the rituals and traditions of the region, but also the imagination seemingly embodied in the rocky, barren landscapes given vivid presence. A tender and deeply personal mode of ethnographic cinema, Falamos de Rio de Onor reveals how documentary can, in fact, balance and intertwine subjective and objective perspectives all too often declared as irreconcilable.

A portrait of a Portuguese fishing village and community in transition, Gente de Praia da Viera offers a clear-eyed chronicle of a struggle to adapt to accelerated modernization. Campos integrated footage from his earlier films to elucidate his deep cinematic engagement in the region and his desire to use his filmmaking to help exact change without alienating or erasing local traditions.