Margarida Cordeiro, psychiatrist, was assistant director to Jaime (1974) and co-director of Trás-os-Montes (1976), Ana (1985) and Rosa de Areia (1989).
[6] One of the recognizable aspects of António Reis' aesthetics was his structuring of the cinematographical unity around the exploration of the limits of the possibilities of the match cut[7] producing visual rhymes, associations and understated meanings, clearly identifiable in works of his like Jaime or Trás-os-Montes.
[1] However, Dennis Lim, in his article for the magazine Artforum, points out that "for today’s preeminent Portuguese filmmakers, no single figure has been more influential than António Reis.
Some of them, like Sapinho, Gonçalves or Viegas are today professors at the Escola Superior de Teatro e Cinema, the current name for the former Portuguese National Film School.
His work and films influenced subsequent directors, whose informal group the historian Haden Guest, considering they form a cinematographic "family", called "The School of Reis".