Fitas na Rua, ciclo de cinema ao ar livre, o Panteão Nacional estará aberto ao público na noite de 22 de Agosto, das 21.00h às 24.00h exibindo às 22.00h, no seu terraço, duas curtas metragens de homenagem a Carlos Paredes e Sophia de Mello Breyner Andresen.
ALIAS sabato 10 luglio 2010
- MONTEIRO, João César. “Outra definição de mar e de mim próprio consoante a maré“;
- MONTEIRO, João Pedro Gil. “Mio padre era uno che sapeva cosa faceva“;
- NAVARRA, Liliana. “I molteplici <<corpi sommersi>> di JCM“;
Paths (Veredas)
Directed by César Monteiro.
With Margarida Gil, António Mendes, Carmen Duarte
Portugal 1978, 35mm, color, 116 min. Portuguese with English subtitles
For his feature debut Monteiro creatively borrowed from traditional Portuguese legends to craft a series of echoing, parallel tales of young couples desperately escaping cruel false fathers, each couple on the run across different regions of the country and during increasingly contemporary time periods. A lyrical and profoundly cinematographic allegory with a glisteningly sharp political edge, Paths traces a pattern of repressive authority across Portuguese history while also pointing, with cautious optimism, towards the steady presence of youthful resistance. With its stunning choreography of landscape and use of a poetic, associative structure to evoke the longue durée of mythical time, Paths anticipates Monteiro’s mid-career masterpiece Silvestre.
Harvard Film Archive
Carpenter Center for the Visual Arts
24 Quincy Street
Harvard University
Cambridge, MA 02138
Fax: (617) 496-6750
God’s Wedding (As Bodas de Deus)
Directed by César Monteiro.
With Rita Durão, João César Monteiro, Joana Azevedo
Portugal 1998, 35mm, color, 150 min. Portuguese with English subtitles
Originally conceived as an integrated second part of a six-hour version of God’s Comedy, Monteiro’s fable of obscure crimes without punishment follows the comic and sexually explicit misadventures of João de Deus, again played with Buster Keaton-like gravity by Monteiro himself, as he finds fortune, love and spiritual redemption in unexpected places. A sumptuously beautiful film, God’s Wedding uses extreme wide-angle cinematography and a rich, naturalistic soundtrack punctuated with gorgeous musical interludes to create a wonderfully complex mise-en-scene that unfolds action in depth and delicate details of the image.
Snow White (Branca de neve)
Directed by César Monteiro.
With Maria do Cormo, Ana Brandão, Reginaldo da Cruz
Portugal 2000, 35mm, color, 75 min. Portuguese with English subtitles
Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.
Harvard Film Archive
Carpenter Center for the Visual Arts
24 Quincy Street
Harvard University
Cambridge, MA 02138
Fax: (617) 496-6750
