Miguel Gomes was born in Lisbon in 1972. He studied at the Lisbon Film and Theatre School and worked as a film critic for the Portuguese press between 1996 and 2000.
He directed several short films awarded in festivals such as Oberhausen, Belfort and Vila do Conde, and screened at Locarno, Rotterdam, Buenos Aires and Vienna. THE FACE YOU DESERVE (2004) was his first feature film. In 2008, he presented his film, OUR BELOVED MONTH OF AUGUST in the Directors’ Fortnight at the Cannes Festival, which was subsequently selected in more than forty international festivals where he won over a dozen prizes.The Viennale (Austria, 2008), Bafici (Argentina, 2009) and the Centro de Artes e Imaxes da Corunha (Spain, 2009) included retrospectives of his films. He is about to release a new feature film called TABU
THIRTY-ONE MEANS TROUBLE
Synopsis
This is the way you hold the racket to play a forehand. Just move your arm back, the left shoulder facing the ball, step forward with your left foot, hitting the ball.”
Director's Bio-filmography

TABU [2012] • OUR BELOVED MONTH OF AUGUST [2008] • CANTICLE OF ALL CREATURES [2006] • THE FACE YOU DESERVE [2004] • PRE-EVOLUTION SOCCER’S ONE MINUTE AFTER A GOLDEN GOAL IN THE MASTER LEAGUE [2003] • KALKITOS [2002] • THIRTY-ONE MEANS TROUBLE [2002] • A CHRISTMAS INVENTORY [2000] • MEANWHILE [1999]
Theatrical Release
PORTUGUESE RELEASE AS PART OF DINAMITEM A TERRA DO NUNCA (COMPOSED BY THE SHORTS KALKITOS, CORPO E MEIO, 31, REMAINS) ON JULY THE 4TH 2003
Festivals & Awards
Festival Int. de Curtas Metragens de Vila do Conde [Portugal, 2002]
Special Mention of the Juri RTP: Onda Curta
Cinematexas International Film Festival [USA, 2002] Gecko Award for best 4 Short Films – Editing Award
BAFICI 2009
With some slight surrealism, a certain indolent eroticism, and the brutal background of class struggle (as in the early Pasolini), 31 (the number of the tennis court from which the leading couple embarks on an adventure, with just a supermarket cart filled with tennis balls as their luggage) establishes some improbable connections on the way (between The Wizard of Oz and the end of the Portuguese dictatorship; between silent movies and the exuberant soundtracks made in India) to sketch, perhaps, a critique of another probable and fertile relation: the one between cinema and history.