Nocturno 29 begins where “Don’t Count on your Fingers” left off: facing a blank screen and the materialness of the projection. It goes in depth into the future Eisenstein-like structure of Portabella’s films which do not advance through a lineal narrative, but rather by a succesion of semi-autonomous scenes and almost always unexpected links. “A series or suite of situations that, although apparently unconnected, always turn about a thematic development that gives body and unity to the story without resorting to the use of an anecdote for plot continuity” (Portabella 1968). Antonioni, Bergman or Buñuel come to mind in this, Portabella’s most “anti-bourgeois” film.
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