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The third installment of the Tetralogy is a brilliant and devastating portrait of young lovers tragically separated by a bitter feud between their aristocratic families. In Doomed Love Oliveira tested his belief in a creative merging of theatrical, literary and cinematic narrative traditions. His radical approach to adaptation captures the multilayered language of Camilo Castelo Branco's eponymous epic novel to offer a virtual phenomenology of life and love in 18th century Portugal.
After a disastrous premiere on Portuguese television, the theatrical release of Oliveira's re-edited version was quickly hailed as a landmark in the history of the European art film. French and Portugese with English subtitles. In his final role, Marcello Mastrioanni is wonderfully cast as an aging film director, modeled on Oliveira himself, traveling with three young actors through northern Portugal and past places he had known in his youth.
The leisurely pace, sensuous beauty of the passing landscapes, and Mastrioanni's touching performance all contribute to the film's rich evocation of place and time. A brilliant and emotionally rich road movie that deserves comparison to Bergman's Wild Strawberries , Voyage marks a high point in Oliveira's late career and remains deservedly among his best-known and most beloved works. Portugese with English subtitles. Oliveira's dream-like semi-documentary reenacts the final hours of Doomed Love author Branco, believed by many to be Portugal's equivalant to Cervantes.
Considered by Oliveira scholar Randal Johnson as one of the director's finest and least appreciated works, Day of Despair closely follows Branco's writing process and speculates about the relationship between the author's private monologue and written word.
Oliveira carefully weighs each of the acts and gestures leading up to Branco's tragic and still unexplained death, searching for clues and discovering a rich poetry of ambient sounds and evocative textures. While location shooting for Bread, Oliveira stumbled upon the subject for Rite of Spring , the annual passion play enacted by a community in Northern Portugal. Intrigued by the ritualistic and incantatory qualities of their production, Oliveira returned to the village and set about directing the villagers in a re-enactment of the passion play, adding a rich performative layer to the film.
A fascinating ethnographic study of local tradition and history that folds in on itself, Rite of Spring climaxes unexpectedly in a furious apocalyptic montage that links Christ's death to the violence and lunacy of the Vietnam era.
Oliveira's tour de force return to feature filmmaking offers a blend of fiction and nonfiction that, like the contemporary work of Jean Rouch, was radically ahead of its time. Portugal , 35mm, color, 20 min. In comparing the different modes of representing and experiencing the city, Oliveira explores the different representational qualities of film and painting. French with English subtitles. A dazzling evocation of the transformative power of spectacle and performance, Oliveira returns three times to this disruptive scene, each time offering a totally different film.
French and English with English subtitles. One of Oliveira's finest achievements and probably his most accessible film, I'm Going Home sounds a wonderful grace note in Michel Piccoli's late career.
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Oliveira extracts the melodramatic core of the basic plot — an aging actor Piccoli left to care for his grandson after his daughter, wife and son-in-law's sudden death — to focus instead upon the quiet rituals and acts of courage that define the actor's life after the tragedy.
A poetic return to the subject of the interrelation between the theater and cinema which has long fascinated Oliveira, I'm Going Home effortlessly raises profound questions about fate and the theatricality of life.
The magic of Paris in the spring conjured by Oliveira weaves moments of rapturous beauty throughout this deeply moving meditation on art and aging. Oliveira's delightful new film proposes and attempts to solve a historical mystery — was Christopher Columbus actually Portuguese? Oliveira offers a typically multifaceted approach to this puzzle, interweaving the story of Manuel Luciano da Silva, a medical doctor and autodidact historian obsessed with Columbus, with visits to historical sites by Oliveira himself and his wife.
Christopher Columbus offers a playful return to the subjects of empire, myth and history so dear to Oliveira. Portugese and Spanish with English subtitles. Oliveira's brilliant meditation on war, history and empire takes as its background and point of departure colonial war in Western Africa in the s, in which guerrilla fighters ultimately defeated Portugal's superior military forces. Mired in the Angolan jungle, a group of Portuguese soldiers begin to openly question the meaning of the war and, in turn, speculate about their country's imperial history. From the film's mysterious opening — a rapturous tracking shot that glides around an ancient African tree — to the stunning battle sequences, Non is one of Oliveira's great late films and one of his most politically charged and outspoken works.
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Oliveira's longtime muse, the wondrous Leonora Silveira, stars as Ema, a provincial doctor's daughter whose remarkable beauty and restless spirit drive men to reckless extremes of passion and devotion. Set in Oliveira's beloved Douro valley, Abraham's Valley uses the landscape as the lush backdrop for a haunting drama of unrequited love and impossible desire enlivened by Oliveira's wry humor. We help people distribute information and art spanning a wide range of subject matter while providing a safe, friendly, respectful, and serious site for all content creators.
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