The films of João Canijo are sociological portraits a Portuguese reality in the contemporary world. But in a conscious and deliberate position, Canijo looked at the intricacies of popular culture, locating his narratives in very specific places: the industrial village of Sines ("Black Shoes", 1998), a Portuguese community in the suburbs of Paris ("Get a Life", 2001), a hostess bar somewhere in deep Portugal (“In the Darkness of the Night”, 2004), and finally a village in the countryside (“Misbegotten”, 2007). In these films, Canijo has sought to organize some of the possible signs of what is a national identity: the physical and psychological violence; tormented characters; disruptive families with power confrontations; the junction of the documentary elements in fiction; and the construction of a hyper-realistic cinematography. This poster aims, therefore, to classify Canijo’s positions in these four films, trying to establish some points of contact with one of the most important philosophers that have written about national identity: José Gil
