Four versions of the same story, first in the perspective of a theatre play, second in the perspective of a silent film, third in the perspective of a film of the 50s and finally in a biblical philosophical perspective.
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Formally daring if not so endearing Oliveira, Mon Cas produces the declension as in grammatical cases of one human plea to multiple film styles with their intrinsic "Weltanschauungs" & specific 'ontologies of pain'. The varying sound and saturation make this inflection sensible and act as punctuation/diacritics which switch the meaning of each segment to a diff. pitch, but sadly Job's fairly jarring wind-up elocution
An uncanny masterpiece that has the unnerving power, using all of film's resources, to render us strangers to our bodies (part 2; a bitter Beckettian comedy about the Cartesian ghost in the machine), our histories (part 3) and our understandings of our selves through religion or art (part 4: the great poem of Job). Like all 'supreme fictions' it "makes the visible a little hard / to see".
The premise is very interesting until you get to the third part or actually midway through the second and then it is just a waiting game for it to finish and for youto feel good about yourself having watched such a marvelous masterpiece of brainiac creation...Merits to the idea and Luis Miguel Cintra is never bad...