4 in bits and pieces, also gives us a sense that the film is a reverie, as we take an introspective glimpse into the filmmaker’s mind. His use of Beethoven’s Piano Concerto No. It’s a highly personal video essay of sorts, yet there is something cinematic about this quaint self-reflective piece, such as his use of the whirling projector (the sound of which is sometimes laid over other scenes) where he screens for us some shorts he had made of his hometown. He speaks to the camera, telling us about his family, his ancestors, life in Portugal, political oppression, his work and fellow comrades in the filmmaking fraternity. These segments, which aren’t entirely compelling, are intercut with Oliveira in his room where he had been writing film treatments for nearly four decades. His house, a character on its own, is ‘visited’ by two unknown persons who traverse and shoot the beautiful interiors, lined with old photographs and probably even older furniture. It is an introduction to the man himself, made in such a way as if someone else, a ghostly presence perhaps, is filming him in his house. Subject Matter: Moderate – Filmmaking, Personal LifeĪs a portrait of an artist, Visit, or Memories and Confessions should interest arthouse cinephiles who are either already familiar with or have not sampled any of the works from the late Portuguese master filmmaker Manoel de Oliveira.
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