Manoel de Oliveira – O Gebo e a Sombra (2012)

 Manoel de Oliveira   O Gebo e a Sombra (2012)

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Gebo (Lonsdale) is an elderly accountant who lives with his wife Doroteia (Cardinale) and his daughter-in-law Sofia (Silveira). Despite his advanced age and increasing fatigue, he continues to work to provide for his family. Doroteia is concerned for her son João (Trêpa), who has been missing for some time. Gebo and Sofia have some idea of João’s whereabouts, having spotted him begging and living in the streets. But Gebo, who doesn’t want to destroy Doroteia’s idealized version of her son, conceals the truth from her. When João returns to the family home, however, this falsehood proves to have disastrous consequences, as the prodigal son is unable to resist the temptation of a bag of money entrusted to Gebo’s keeping. Continue reading

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Manoel de Oliveira – A Caixa aka Blind Man’s Bluff (1994)

caixa0b Manoel de Oliveira   A Caixa aka Blind Man’s Bluff (1994)

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synopsis

The human condition is examined in this Portuguese French film with opens with a warning that informs the audience that the following is not a documentary but a moral tale about the anachronisms of modern society. The story, set in an aging neighborhood filled with interesting characters, focuses upon an old blind man and his daughter. Every day, the blind one sits in a doorway sells thread and begs. The daughter spends her days ironing and complaining. Their neighborhood is not a wealthy one, and many passerby are envious of the old beggars’ box of accumulated coins. It has been stolen before so the man and the daughter’s boyfriend keep an eye upon it. Tragedy ensues when the box does indeed disappear. Continue reading

Manoel de Oliveira – O Princípio da Incerteza AKA The Uncertainty Principle (2002)

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Social class, prideful martyrdom, and a dollop of beautifully expansive landscape weave a tale of operatic proportions, both by plot and physically exhaustive standards, in veteran Manoel de Oliveira’s latest exploration of motivation. Marrying for money instead of childhood love, Camila (Leonor Baldaque) naïvely assumes the supposed epic and selfless attributes of Joan of Arc to deal with her husband’s infidelity and the consistent treatment of being irrelevant to the very people that encouraged the doomed match. Continue reading

Manoel de Oliveira – A Divina Comédia AKA The Divine Comedy (1991)

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Description: In this symbolic and philosophically weighty film, all of the inhabitants of a Portuguese mental asylum suffer from religious delusions of one kind or another — even the cynic who denies the value of any religions at all. One couple re-enacts the story of Adam and Eve in the Garden, and then the woman who played at being Eve plays at being St. Teresa de Avila. Another man thinks he’s a character from a Dostoyevsky novel, and yet another claims to have in his possession a fifth gospel from the Bible. Everyone has a point of view and is not shy about stating it, defending it in debate with the others with great sincerity, though (the reviewers claimed) with very little elegance or wit. (Clarke Fountain)

What would’ve happened if Lazarus met Nietzsche? The man who raised from the deads and the man who killed God are but two faces of the same soul. Oliveira let the books talk about human greatness and misery.
If you are not interested in the theological debate, don’t waste your time here. But if you’re not interested, you’re already wasting your time. (Dionysis) Continue reading

Manoel de Oliveira – Le soulier de satin aka The Satin Slipper (1985)

24m5ouh Manoel de Oliveira   Le soulier de satin aka The Satin Slipper (1985)

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Prolific Portuguese director Manoel de Oliveira has cut down the 7-hour stage play of Catholic playwright Paul Claudel to just under three hours in this film. Within those three hours, two people — Dona Prouheze (Anne Consigny) and Don Rodigue (Luis Miguel Cintra) have fallen in love but are honor-bound to renounce their passion for a greater love of God. Dona Prouheze is particularly devout and has offered her satin slipper to the Virgin Mary in exchange for the Virgin’s protection against sin. She dies as virginal as when she was born, while Don Rodrigue conquers Asian lands for king and country. As his life progresses, he becomes more and more devoted to painting religious subjects on his ship, rebuffing the royal attempts to get him back into active duty. Slow and possibly tedious for some audiences, this film was originally created as a four-part miniseries for television. ~ Eleanor Mannikka, All Movie Guide Continue reading

Manoel de Oliveira – Francisca (1981)

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Plot: Manoel de Oliveira wrote and directed this historical drama about the lives of some of his wife’s ancestors who were active in the first half of the 19th century. In order to put across this slower-paced era before automobiles, planes, instant television and radio news, and computers, Oliveira uses a series of tableaus to emphasize the drama of each setting and the lifestyle of the protagonists. The feckless, wealthy Jose Augusto (Diogo Doria) and Fanny Owen (Teresa Meneses), a young English woman, are attracted to each other. A perennial love triangle is created when the author Camilo Castelo Branco (Mario Barroso) also falls in love with Fanny (Francisca), but is placed in a bind because he is a friend of Jose Augusto. In the end Fanny opts for the wealthy young man, and Camilo (who would eventually die by suicide) loses the love of his life. Now that the rich young man has succeeded in the chase, he has no interest in the result, and he and Fanny are married by proxy. Although she goes to live in his mansion, he does not stay with her and she is left alone — and untouched. The triangle has come apart, and Fanny and Camilo have been separated, almost by the whim of the rich and disinterested Jose Augusto. ~ Eleanor Mannikka, All Movie Guide Continue reading

Manoel de Oliveira – Aniki Bóbó [+Extras] (1942)

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“Film4″ wrote:
One of the earliest features by Portugal’s most renowned director, it was also one of De Oliveira’s best-known works for many years. Using the actual children of the area, the film follows the adventures of street urchins growing up in the slums of Oporto and on the banks of the river. Much simpler in style and more approachable than many of De Oliveira’s later films, it has excellent location photography and natural performances from the kids. Coincidentally it was made in the same year as Vittorio de Sica made his first Italian neo-realist film, The Children Are Watching Us. Continue reading

pixel Manoel de Oliveira   Aniki Bóbó [+Extras] (1942)