Isaac is a young photographer living in a boarding house in Régua. In the middle of the night, he receives an urgent call from a wealthy family to come and take the last photograph of their daughter, Angelica, who died just a few days after her wedding. Arriving at the house of mourning, Isaac gets his first glimpse of Angelica and is overwhelmed by her beauty. As soon as he looks at her through the lens of his camera, the young woman appears to come back to life just for him. Isaac instantly falls in love with her. From that moment on, Angélica will haunt him night and day, until exhaustion.
Manoel Cândido Pinto de Oliveira, GCSE (Portuguese pronunciation: [mɐnuˈɛɫ doliˈvɐjɾɐ]; born December 11, 1908) is a Portuguese film director born in Cedofeita, Porto. He is currently the oldest active film director in the world.
Manoel de Oliveira was born in Porto, Portugal on December 11, 1908, to Francisco José de Oliveira and Cândida Ferreira Pinto. His family were wealthy industrialists.
Oliveira attended school in Galicia, Spain and his goal as a teenager was to become an actor. He enrolled in Italian film-maker Rino Lupo’s acting school at age 20, but later changed his mind when he saw Walther Ruttmann’s documentary Berlin: Symphony of a City. This prompted him to direct his first film, also a documentary, titled Douro, Faina Fluvial (1931).
He also has the distinction of having acted in the second Portuguese sound film, A Canção de Lisboa (1933).
His first feature film came much later, in 1942. Aniki-Bóbó, a portrait of Oporto’s street children… read more
It's interesting how the long takes are about duration for contemplation and mood rather than compositional narrative, considering the protagonist is a photographer struggling with the reality behind his inspiration and visions. At times beautiful, although the poetic allegories were overly expository and I expected more of the sparse narrative and story (even if it was heavy on more ontological abstractions).
Avec ce film, de Oliveira choisit d'adopter le ton des contes fantastiques de la fin du 19ème / début du 20ème siècle (ceux de l'époque de sa naissance en somme), comme ceux de Maupassant, de Poe ou d'Oscar Wilde, pour réaliser un film ô combien troublant qui brasse un nombre incalculable de choses en rapport direct avec le cinéma. Le sujet en lui-même, et la façon de la traiter, ne parlent que de cinéma. Soit comment redonner vie à une personne morte par le prisme de la photographie - entendre de l'image cinématographique - uniquement en croyant en l'existence ontologique de celle-ci. Pour ce faire, le cinéaste convoque tout aussi bien Mrs Muir de Mankiewicz que le Vertigo d'Hitchcock. Si sa mise en scène rappelle ici certains de ses cinéastes amis, Ruiz et Buñuel, notamment par l'étrangeté fantastique que le film brasse tout du long, je pense n'avoir pas vu de si beau et si pur, si vibrant hommage au cinématographe depuis La Frontière de l'Aube de Philippe Garrel. Ces deux films sont comme deux frères siamois qui salueraient L'Aurore de Murnau communément. La fin notamment, rappelle aussi un grand film récent : Last Days de Gus Van Sant. Ces films ont en commun une croyance pure et dure en ce qu'ils énoncent. Plastiquement, de Oliveira est au sommet de son art. Chaque plan, sublime mais jamais photographique, jamais figé, toujours cinématographique, évoque un croisement d'une toile de Vermeer et d'une autre de Magritte, où l'ancien se mêle au moderne, où l'étrangeté vient délicatement se mêler au quotidien semant un trouble diffus et persistant. Les nombreux effets spéciaux du film sont parmi les plus beaux que j'ai pu voir, et la scène d'élévation est l'une des plus belles du cinéma contemporain. Ni plus ni moins. J'espère que le dernier plan du film, cette sublime fermeture au noir, ne sera pas prophétique, et que de Oliveira continuera longtemps à tourner, car à 103 il est l'un des cinéastes les plus jeunes, les plus inventifs, les plus novateurs et les plus fantastiques qui soient.
And more year-end lists from New York and the Guardian. Plus: Sony vs the New Yorker.
Criterion releases Chabrol’s first two features, while The Strange Case of Angelica is out from Cinema Guild. Plus, more new DVDs.
Angelica only comes to life in a viewfinder and some photos: not as life, but as a movie—a trace of life. Oliveira returns to the Douro valley
Bet you can guess which film's topped the Village Voice poll this year. Analyzing the results, J Hoberman notes that David Fincher's The
It is one of the miracles of cinema that Manoel de Oliveira, who made his first film nearly 80 years ago, in 1931, is still working, and making
So here's a roundup that provides an opportunity to draw attention to two new issues of publications that, after all these decades, are
Often I get the sense that serious movies are the rarest kind of them all. I don’t mean the easily self-serious and pretentious films, films
"The Strange Case of Angelica, which met with enthusiastic applause after its first press screening on Thursday, is a gift from a filmmaker
Above: Mimi Branescu (left) in Tuesday, After Christmas. Eyes crammed with images, ears filled to the brim with sound, and the brain
O novo filme do cineasta mais velho do mundo tem efeitos especiais. Manoel de Oliveira cria uma história de amor que transcende a morte em O Estranho Caso de Angélica, um respiro em seus filmes mais… read review