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**A film that, due to its dominant atmosphere and boring slowness, seems like a funeral service.** My opinion about Portuguese cinema has never been the best. I have always considered that, despite the beauty of the places in our country and the quality of the actors and technical personnel, there are no directors capable of doing something that is, at the same time, minimally palatable to the general public and technically well done. Either Portuguese directors opt for a vain and irritating academicism, and make films that never leave the festivals and end up forgotten, or they surrender to the money-making machine and release idiotic comedies with low-level jokes. This film, considered by many to be one of the best made by Manoel de Oliveira, is a good example of the academic, dull and unintelligible film I mentioned above. I believe the film was a delight at festivals, and I don't think it's to be despised that the film has won awards and some good reviews in Tokyo and São Paulo... but the fact is that, after almost thirty years, it's a film forgotten, even by nerds. For the film, Oliveira asked writer Agustina Bessa-Luís for an original script. Without any kind of demerit, the writer gave her a story that, in essence, is an adaptation of “Madame Bovary”, which passes through the Douro scenarios and is inspired by them to obtain a certain literary lyricism. It will certainly be an interesting book, but it is not a good story for the cinema, and Oliveira ignored that. Watching the movie and reading a book are the same thing, thanks in part to a narrator who doesn't shut up for a minute and who seems to be reading aloud. The story follows Ema, the main character, from youth to death. Contrary to what many argue, I think the character is not an innocent teenager, despite her young age: she knows she is very beautiful, she knows the effect this has on men and seeks him out, having fun like a Lolita. The rest of the film is an anachrony, with the characters acting as if they lived in the 19th century and not the 1980s: Ema's marriage to Carlos de Paiva, owner of Vale Abraão Estate, is arranged by her father; the couple's very formal social life almost emulates that of Flaubert's nineteenth-century bourgeois; the habit of sleeping in separate beds is nonsense, and the explanation of the doctor going out at dawn to see the sick simply does not make sense. Oliveira and Bessa-Luís tried to recreate a 19th century bourgeois experience in the present day, but the portrait is anachronistic and unbelievable. The film has several reasonably well-known actors, some of them with a past to consider, in theatre, cinema and television. However, none of them do well here. Leonor Silveira tried everything to be elegant and seductive, and the way the actress moves and observes is, in fact, hypnotic… but also proud and vain. The character proves to be unpalatable in his boring and tiresome monotony and in his affected, arrogant ways. Cécile Sanz de Alba, the young actress who played Ema as a teenager, is magnificent, beautiful, but empty of content, and only does what she has to do. Luís Miguel Cintra is a good actor, but here he gave life to an empty man, an inert and amorphous “cuc...old”, without any emotion. Ruy de Carvalho is a shadow of himself. Diogo Dória and José Pinto can add little or nothing. Technically, the film has several points of merit, I recognize that. The constant breaking of the so-called “fourth wall”, with interpellations and looks directly at the camera, as well as the use of a narrator, lead the audience to be part of the film as a mute, observer character. The film makes good use of the landscape of the Douro Valley and the farms and stately homes where it was filmed, although certain details are inconceivable (the use of candlelight, for example). Cinematography is, without a doubt, a striking point, with the use of mirrors, shadows and various light effects that Oliveira worked tirelessly. I admire and respect that, but it's not enough to make a good film, it doesn't make up for the monotonous atmosphere or the excessively slow pace of a film with funeral tics and a soundtrack to match.
A rule-bound head butler's world of manners and decorum in the household he maintains is tested by the arrival of a housekeeper who falls in love with him in post-WWI Britain. The possibility of romance and his master's cultivation of ties with the Nazi cause challenge his carefully maintained veneer of servitude.
When Charlie and her girlfriend Cerina decide to have a baby together, the idea of using Cerina's ex-boyfriend Josh as the live-in donor turns an easy on-paper idea into a much more challenging event.
After a plane crash, a young therapist, Claire, is assigned by her mentor to counsel the flight's five survivors. When they share their recollections of the incident - which some say include an explosion that the airline claims never happened - Claire is intrigued by Eric, the most secretive of the passengers.
In lyrical switches between the present and the past, Taeko contemplates the arc of her life, and wonders if she has been true to the dreams of her childhood self.
To get royal backing on a needed drainage project, a poor French lord must learn to play the delicate games of wit at court at Versailles.
A semi-autobiographical account of Makhmalbaf's experience as a teenager when, as a 17-year-old, he stabbed a policeman at a protest rally. Two decades later, he tracks down the policeman he injured in an attempt to make amends.
Clarissa Dalloway looks back on her youth as she readies for a gathering at her house. The wife of a legislator and a doyenne of London's upper-crust party scene, Clarissa finds that the plight of ailing war veteran Septimus Warren Smith reminds her of a past romance with Peter Walsh. In flashbacks, young Clarissa explores her possibilities with Peter.
A 3-D animated film about the dream of reaching the unreachable and about the fact that something good can evolve from something evil.
In the lower-middle-class Adams family, father and son are happy to work in a drugstore, but mother and daughter Alice try every possible social-climbing stratagem despite snubs and embarrassment. When Alice finally meets her dream man Arthur, mother nags father into a risky business venture and plans to impress Alice's beau with an "upscale" family dinner. Will the excruciating results drive Arthur away?
Loving wife & mother Sarah is abducted by intelligent and forensically aware psychopath Nigel. The family and the police are subjected to a manipulation of the reality that surrounds them. Relating to the darkest side of the human character Flowerman also connects with both a spiritual aspect and a basic drive for survival.
The film tells, in flashback, the story of Suresh Sinha, a famous film director and his relationship with an aspiring actress.