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
A ghost story as only Don Oliveira could tell it! Watching his movies makes me feel like I'm cozying up in a quaint little bookstore, I can almost smell the old books; his movies just have this very old world feel to them. One does not so much watch them as live inside them. I didn't like this one as much as the other Oliveira's I've seen. Something was missing, and I can't quite place what it was, but the central enigma just didn't feel as developed as it did in the other Oliveira's I've seen. Overall, though I really enjoyed this. I'd like to know how Oliveira manages to make his shots look so much like paintings.
From the little I know of Manoel de Oliveira's filmography, he seems to be a master of infusing every bit of his films with the feeling that people are weird and the world is a suffocating painting, even though he does classical cinema all the way, without almost never experimenting. Creeps the fuck out of me.
Manoel de Oliveira’s new film, Gebo and the Shadow, is a work of ultimate compassion and benevolence.
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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
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Above: Mimi Branescu (left) in Tuesday, After Christmas. Eyes crammed with images, ears filled to the brim with sound, and the brain