The Strange Case of Angelica, 2010

The retrospective screening of Manoel de Oliveira’s Acto da Primavera alongside his latest film, The Strange Case of Angelica provided a great opportunity to see the evolution – or rather, reconstitution – of his cinema from documentary to narrative fiction. Indeed, by evoking images from his first film, Douro, Faina Fluvial in Isaac’s (Ricardo Trepa) […]

Eccentricities of a Blond Hair Girl, 2009

Inasmuch as Eccentricities of a Blond Hair Girl returns to Manoel de Oliveira’s recurring theme of doomed love, the film also embodies Oliveira’s preoccupation with subjectivity and modes of representation. On one level is the adaptation of Eça de Queiroz’s literary work into a screenplay, retaining a degree of formalism and dramatic structure associated with […]

Belle Toujours, 2006

Ostensibly an homage to the principal creators of Belle de Jour, filmmaker Luis Buñuel and screenwriter Jean-Claude Carrière, Belle Toujours is, nevertheless, a quintessential Manoel de Oliveira film: formalist, dramaturgic, contemplative, and discursive. Continuing where Buñuel’s film left off 38 years earlier, after the sadistic scoundrel Henri Husson (Michel Piccoli) would whisper an undisclosed secret […]

Acto da Primavera, 1963

In Le Quattro volte, Michelangelo Frammartino uses the staging of the Passion Play by the local villagers to bridge the ancient and the modern. This dialectic also provides the connective tissue in the Views from the Avant-Garde program, Station to Station, capturing the ancient tale as it unfolds in the streets of New York City […]

Lola Montès, 1955

The tawdry, carnivalesque atmosphere of the traveling Mammoth Circus provides the ideal framework for Max Ophüls’s resplendent Lola Montès, serving as both a pungent deconstruction of the cult of celebrity and a demystification of an elusive woman. Revisiting scandalous episodes from her life through a series of kitschy, seemingly incongruous reenactments involving constructed stage props, […]