

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. Read More »







