Jake (Yelchin) and Mati (Lucas) are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.... (Full plot summary below)
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Jake (Yelchin) and Mati (Lucas) are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.
Leave your thoughts about Porto.
| Cinemanía (Spain)Carlos MarañónSmall great movie. [Full review in Spanish] |
| Fresh FictionJames ClayPORTO is more of an academic exercise, rather than a film with a thesis. |
| Slant MagazineCarson LundIt grapples with emotional enigma of infatuation, and the question of how such a mighty force can also be so fleeting. |
| Seventh RowElena LazicGabe Klinger's Porto is a prime example of a seemingly romantic film that is insidiously misogynistic which uses multiple film stocks as an aesthetic gimmick. |
| Hollywood ReporterStephen FarberThe film is not a perfect undertaking, but it confirms Yelchin's unique talent and underscores the sadness of his untimely death. |
| New York TimesJeannette CatsoulisThis first narrative feature from Gabe Klinger seduces with breathtakingly gorgeous visuals that feel both achingly nostalgic and elegantly modern. These often ravishing aesthetics and stylistic quirks act as soft restraints, keeping us watching despite a near-total absence of story and a thinly disguised attitude of male entitlement. |
| Film Journal InternationalFrank Lovece[Director Klinger's] questionable choices make this a calling-card curiosity. |
| Austin ChronicleRichard WhittakerThis is a remarkable and tender romance curtailed, broken by character flaws, yet one that leaves the audience still in love with the protagonists, in all their fractured ways. |
| RogerEbert.comMatt Zoller SeitzThe film’s clever editing (credited to Klinger and Geraldine Mangenot) jumps back and forth through time in intriguing, sometimes intoxicating ways, and even when the drama flags there’s always a stunning image to stare at. |
| New YorkerRichard Brody[A] quietly bombastic and emotionally oblivious romantic drama. |
