Edgar Pêra graduated in Film Editing from the Escola Superior de Teatro e Cinema in 1984. Shortly after, he adopted the persona of Homem-Kâmara, dedicating himself to filming the daily lives of Portuguese pop-rock bands. His subsequent films include the heteronymous feature A Janela (Marialva Mix), and others that alternate between the direct discourse of the guest thinkers in his films, such as Manual de Evasão LX94 (featuring Terence McKenna, Robert Anton Wilson, and Rudy Rucker) (Locarno 2001), and adaptations of texts, including O Barão and the dystopian fiction Caminhos Magnétykos.

In 2004, he had his first international retrospective at the World Wide Video Festival in Amsterdam. In 2006, he received the Pasolini Prize in Paris, alongside Jodorowsky and Arrabal. In 2010, he began researching the stereoscopic format for his doctoral thesis O Espectador Espantado (UALG – Communication Culture and Art), producing various 3D films such as Cinesapiens (from the trilogy 3X3D, with Godard and Greenaway), Lisbon Revisited (a perceptual journey through a Lisbon inhabited by Pessoa’s ghosts), and KINORAMA – Beyond The Walls of The Real, featuring texts by Lovecraft.

Following retrospectives at the Cinemateca in Seoul (2014) and at the Fundação de Serralves (2018), his largest retrospective to date was held at the International Film Festival Rotterdam. In 2023, he premiered at the Rotterdam Festival the film inspired by Pessoa’s complex drama Não Sou Nada – The Nothingness Club. This year, he will premiere his latest film Cartas Telepáticas, featuring images created using artificial intelligence.