Quote:
Inasmuch as Manoel de Oliveira’s films convey what Randal Johnson describes as a cinematic hybridity that illustrates the amorphous nature of representation, No, or the Vain Glory of Command also reflects a temporal hybridity, where time is presented as a conflation of seemingly arbitrary, but integrally connected history. Opening to a long take of a large ancient tree shot from a moving camera platform in the African wilderness, the correlation between enduring image and its representation through a constantly shifting point of view also serves as a contemporary metaphor for Portuguese history itself, where its consequences continue to be re-evaluated through the shifting perspective of an increasingly marginalized legacy. Shot in 1990 as a historical fiction on the waning days of Estado Novo and colonialism under the Salazar regime that crystallized with the Revolution of 1974, the film further incorporates a tertiary, non-fictional chronology, as the soldiers sent to Angola to suppress the insurgency and maintain control of the “overseas provinces” (even as the country faces its own domestic crisis resulting from dissatisfaction with the repressive government) revisit the decisive battles and pivotal events that would shape the course of Portuguese history.

Non.ou.a.Van.Gloria.de.Mandar.1990.720p.WEBRip.x264-MaZ.mkv

General
Container:  	Matroska
Runtime: 	1h 51mn
Size: 	3.25 GiB
Video
Codec: 	x264
Resolution: 	960x720 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	3 978 Kbps
BPP: 	0.240
Audio
#1:  	Portuguese 2.0ch AC-3 @ 192 Kbps

https://nitro.download/view/1CE476DF76929A9/Non.ou.a.Van.Gloria.de.Mandar.1990.720p.WEBRip.x264-MaZ.mkv

Language(s):Portuguese, Spanish
Subtitles:Portuguese, English, French, Spanish, Italian

The post Manoel de Oliveira – ‘Non’, ou A Vã Glória de Mandar AKA No, or the Vain Glory of Command (1990) first appeared on Cinema of the World.

A docu-drama that follows Manoel de Oliveira’s life during the times of dictatorship in Portugal.

Quote:
73-year-old De Oliveira decides to make a personal movie that his audience will only know once heis dead. In 1982, the director takes the decision to make a movie about (and in) his (ex) house, in which he lived for over 40 years. The initial still shot is held for a long while with the presence oftrees in the garden of his house in Oporto. De Oliveira himself introduces the film and speaks all the credits out. The voices of a man and a woman guide us for most of the first part, in a sort of preliminary and formal tour around the totality of the house. They remain out of frame and the camera perspective is not necessarily theirs. After a few minutes, we see De Oliveira for the first time, writing on a typewriter at his desk. The most surprising element, in narrative terms, is the recreation of his arrest and his stay in a dungeon in times of the Portuguese military regime, during the 60s. Right from the start, the word memoryis a relevant operative term; the confession becomes explicit around half through the film. Semantically, confession is a Christian term; in this case, said tradition is taken for granted. Asin many of his films, we find here a singular Catholicism, perhaps strict but softened by a theologically improper sense of humor. De Oliveira speaks about the absolute, purity, virtue, and even sin. De Oliveira has left for that land from which no one returns to confirm that something continues over there and that life of the spirit goes on without the requirement of the flesh. But we are left with this lucid and flashing legacy, in which the director wards off the menacing narcissistic exhibitionism of a movie about oneself and expresses his peculiar worldview, in which the vertical delight of the mysteries of God coexists with the horizontal grace detected in terrestrial life, in the presence of friends and the generous natural life.

Memories.and.Confessions.1993.WEBRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 8 min
Size: 	1.54 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.283
Audio
#1:  	Portuguese 2.0ch AC-3 @ 224 kb/s

https://nitro.download/view/F38E6F91563CFC7/Memories.and.Confessions.1993.WEBRIP.576p.x264.AC3.KJNU.mkv

Language(s):Portuguese
Subtitles:English

The post Manoel de Oliveira – Visita ou Memórias e Confissões AKA Memories and Confessions (1982/1993/2015) first appeared on Cinema of the World.

Venice Film Festival wrote:
The film was made upon the invitation of the Serralves Foundation in Porto for the celebration of the 20th anniversary of the Foundation and the 10th anniversary of its Museum. A reflection on the Painéis de São Vicente de Fora, a 16th-century masterpiece attributed to Nuno Gonçalves.

Mostra Internacional de Cinema de São Paulo wrote:
Uma reflexão pessoal de Manoel de Oliveira sobre os Painéis de São Vicente de Fora, obra do século 16 do pintor Nuno Gonçalves e uma das mais célebres e misteriosas pinturas da história da arte em Portugal, reconhecida como referência entre todas as representações da sociedade portuguesa pré-colonizadora. Filmado no Museu Nacional de Arte Antiga, em Lisboa, o filme constrói um quadro vivo com atores que representam as figuras retratadas nos Painéis, na sala do Museu onde eles se encontram expostos.

226MB | 15:12.404 | 704×384 | avi

https://nitro.download/view/7FCFCB286F99BFD/Paineis_de_Sao_Vicente_de_Fora_-_Visao_Poetica.avi
http://www.nitroflare.com/view/C7B8C8801E35F7A/Paineis_de_Sao_Vicente_de_Fora_-_Visao_Poetica.srt

Language(s):Portuguese
Subtitles:English (.srt)

The post Manoel de Oliveira – Painéis de São Vicente de Fora – Visão Poética AKA Painéis de São Vicente de Fora – Poetic Vision (2010) first appeared on Cinema of the World.

Quote:
The world after the atomic age. An engineer disappears, together with his consortium (Kryo’Corp) and his discovery: a new energy source powered by the fusion of two primary substances. Ulysses, Kryo’Corp’s heir, organises an expedition to the only place these substances occur.

Quote:
Antonioni meets Rod Serling? Stalker by way of Gilliam? David Lynch’s Star Trek? F.J. Ossang’s sophomore feature, Treasure of the Bitch Islands (1990) is a concoction both familiar and utterly unique. The treasure is oreon, a man-made energy source dreamed up by a recently disappeared engineer. A crew of smartly dressed lowlifes is dispatched to the Bitch Islands, an irradiated archipelago, in search of the tycoon and his golden goose. The islands are incarnate nightmares, unstable and destabilizing, as incomprehensible and intoxicating as the film itself.

Like most great cheapo sci-fi extravaganzas, we hear more than we see. The characters allude to cannibals, human torches and other hellish would-be setpieces, all of which never materialize onscreen. It’s a testament to the power of Ossang and cinematographer Darius Khondji’s images that we don’t regret their absence. With wide lenses warping their searing whites and shimmering grays, Ossang and Khondji present a gorgeous array of expressionist images (silhouettes, fog, extreme closeups) that metastasize in the brain.

The imagery is aided in its disorienting mission by the propulsive drone of Ossang’s own industrial score, credited to Messageros Killers Boy, and his metal-poetic dialogue along the lines of “love demands the love one’s total destruction once it is threatened by its own impotence.” At every turn we are deprived of proper footing, condemned to wander through the haze like the film’s addled characters. Unlike these doomed figures, we’re able to enjoy the trip.

+ Interview with F.J. Ossang

1.64GB | 1h 53m | 696×334 | mkv

https://nitro.download/view/B34149947B20A57/Le.Tresor.des.Iles.Chiennes.1990.x264.AC3.DVDRip-JB666.mkv
https://nitro.download/view/A112B4FF465C528/Interview_with_film_director_F.J._Ossang-interview.mkv

Language(s):French,English
Subtitles:English

The post F.J. Ossang – Le Trésor des Iles Chiennes AKA Land of the Dead [+Extra] (1990) first appeared on Cinema of the World.

Quote:
Filmmaker Eugene Green pays homage to Manoel de Oliveira, a Portuguese director whose had a profound influence on his style, with this drama of a woman eager for a new lease on life. Julie (Leonor Baldaque) is a French actress who is still nursing a broken heart after a bad breakup with her boyfriend. Julie travels to Lisbon to begin work on her latest project, in which she’ll play the title role in a screen adaptation of the novel Letters of a Portuguese Nun. Julie is fascinated with Lisbon, and spends much of her spare time exploring the city, and she opens herself up to encounters with a wealthy and prominent man (Diogo Dória) as well as one of her fellow actors (Adrien Michaux). However, Julie learns the most about herself and her heart when she strikes up a friendship with a local boy who has lost his parents (Francisco Mozos), enjoys some long conversations with a nun (Ana Moreira) who is advising the production, and learns to love Portugal’s native fado music. A Religiosa Portuguesa (aka The Portuguese Nun) was an official selection at the 2009 BFI London Film Festival. ~ Mark Deming, Rovi

https://nitro.download/view/6D90DC6BC527C79/Eugene_Green_-_(2009)_The_Portuguese_Nun.mkv

https://tezfiles.com/file/7819e6b32972d/Eugene_Green_-_%282009%29_The_Portuguese_Nun.mkv

Language(s):Portuguese, French
Subtitles:English

The post Eugène Green – A Religiosa Portuguesa AKA The Portuguese Nun (2009) first appeared on Cinema of the World.