If there has been in Portugal a filmmaker who has continuously filmed (apart from the well-known case, in the opposite direction, of Manoel de Oliveira), he is Edgar Pêra, as a consequence of his availability and insistence on doing so regardless of the perennial problems of juries and public subsidies.

(Augusto M. Seabra)[5][6] Pêra started as a screenwriter but in 1985 bought a camera, inspired by Dziga Vertov, and never stopped shooting on a daily basis.

and SWK4 - The Parallel Universes of Almada Negreiros, Pêra directs his first fiction feature in 1994, Manual de Evasão LX 94/Manual of Evasion (for Lisbon 1994 Capital of Culture), articulating an aesthetic legacy of soviet constructivist silent films, with what the filmmaker called "a neuro-punk way of creating and capturing instantaneous reality".

Many years after its release, The Worldwide Celluloid Massacre wrote that Manual of Evasion is a "Portuguese thought-provoking experimental movie with a great potential for cult status."

Pêra invited three major counterculture American writers: Terence McKenna, Robert Anton Wilson and Rudy Rucker and asked them about the nature of time.

In 2006 Edgar Pêra has a retrospective at the Indie Lisboa winning awards in every category of the festival for a more consensual film: Movimentos Perpétuos/Perpetual Movements,[10] a cine-tribute to legendary Portuguese guitar composer and player Carlos Paredes.

Put more precisely: Edgar Pêra is different from everything that we know about Portugal"[11][6] O Barão/The Baron, an adaptation of Branquinho da Fonseca's novella of the same name, premiered in 2011 at the International Film Festival Rotterdam.

[12] * Sight and Sound critic Jonathan Romney wrote that "Its atmosphere and style are foremost in a melange which variously echoes Welles, James Whale, Cocteau, Hammer and (inevitably) Edward D. Wood Jr.".

"the find here is lesser known Portuguese director Pêra's weird and wacky whirlwind of a film; a sharply astute indictment of mainstream cinema and culture."