Gonçalo Waddington

Crista Alfaiate

Cláudio da Silva

Lang Khê Tran

Jorge Andrade

João Pedro Vaz

João Pedro Bénard

Teresa Madruga

Joana Bárcia

Diogo Dória

Jani Zhao

Manuela Couto

Américo Silva

Rembrandt Beerens

Kazuo Kon

Giacomo Leone

Anais Lin Chastres

Anmol Singh

Nguyen Van Viet

Vasco Costa

Jianan Hua

Maina Tamang

Aibir Pari Lama

Lary Baron

Julian Bonnin

Giulia Cosentino

André Lourido

Carla Madeira

Vasco Pimentel

Benjamin Vasquez Barcellano Jr.

Rui Poças

Miguel Gomes

Elio Terribili

Viola Fügen

Maureen Fazendeiro

Catarina Alves

Gregorio Paonessa

Thales Junqueira

Francesca Lepore

Patricia Faria

Holger Stern

Sayombhu Mukdeeprom

Ivan Spignese

Emmanuelle Fèvre

Daniela Tartari

Miguel Martins

Marcos Pedroso

Kei Chikaura

Edoardo Tozzi

Patrick Mendes

Yov Moor

Serena Alfieri

Tom Dercourt

Filipa Reis

Silvia Grabowski

Marta Donzelli

Pedro Marques

Telmo Churro

Thomas Ordonneau

Luciano Cammerieri

João Miller Guerra

Michael Weber

Mariana Ricardo

Giulia Pietralunga Cosentino

Xie Meng

Filipa Falcão

Sandra Meleiro

Gui Liang

Drama

Adventure

Grand Tour

Uma Pedra no Sapato

Vivo Film

Shellac Sud

Cinéma Defacto

Eurimages

Rediance

CREATPS

The Match Factory

Cinémadefacto

China

France

Germany

Italy

Japan

Portugal

Miguel Gomes's "Grand Tour" stands as one of the most creatively audacious films in recent memory, fully deserving of the Best Director prize at Cannes 2024. Drawing inspiration from W. Somerset Maugham's "The Gentleman in the Parlour" and "Mabel," Gomes crafts something wholly original – a cinematic tapestry that weaves together travelogue, love story, comedy, and philosophical meditation with breathtaking virtuosity.

The film's premise seems deceptively simple: Edward, a spineless British civil servant in 1917 Burma, flees on the eve of his wedding, while his joyful, determined fiancée Molly pursues him across Asia. But Gomes transforms this framework into a profound exploration of intimacy, connection, and cultural perspective.

What initially appears as a period piece gradually reveals itself as something far more complex. The accumulating anachronisms – modern footage interspersed with studio sets, contemporary sounds bleeding into period scenes – aren't mistakes but intentional artistic choices. Gomes collapses time, creating a dialogue between colonial past and postcolonial present that interrogates how we perceive both history and the "exotic."

The emotional core of "Grand Tour" lies in its exquisite portrayal of two souls moving through the same spaces at different times. Edward's journey represents fear of intimacy and commitment, while Molly's pursuit embodies unwavering devotion. Their separate but parallel journeys become a metaphorical dance, played out against stunning landscapes and cultural encounters. The film transforms from screwball comedy to something profoundly moving as these halves converge toward the astonishing final sequence.

I'm quite partial to magic surrealism, and although Grand Tour isn't quite that genre, it's at least a fraternal sibling. Gomes employs every cinematic tool available – the voiceovers in multiple Asian languages, the stunning black and white photography, the brilliant musical selections ranging from traditional instruments to karaoke renditions of "My Way" – creating a sensory experience that feels both intellectually stimulating and emotionally resonant.

"Grand Tour" exemplifies cinema's unique capacity to transcend boundaries – between past and present, comedy and tragedy, East and West, artifice and authenticity. Like the best travel experiences, it doesn't merely show us new vistas but transforms our perspective. We emerge from this grand journey carrying not just postcard memories but a deeper understanding of human connection across the seemingly insurmountable distances of time, culture, and the heart.