José Régio

A young girl, Benilde, so protected by her religious family that she seemingly knows nothing about procreation, insists that her mysterious pregnancy is a miracle; however, her distressed bourgeois family decides that Benilde has lost her mind.

Manoel de Oliveira directs José Régio's historical epic of religious and political power struggles. King Sebastião plans to make Portugal the world's Fifth Empire.

In a mental institution the patients see themselves as people like Jesus, Lazarus, Martha, Mary, Adam, Eve, Sonia, Raskolnikov, Aliosha e Ivan Karamasov, a Philosopher, a Profet, Santa Teresa d'Avila, reciting the Divine Comedy.

Manoel de Oliveira plays his film in three stages: the first part - a play, the second can be roughly defined as a silent film (with the behind the scenes read excerpts from Beckett works), but in the end the director brilliantly performs the same material of the avant-garde exercise. Surprisingly, a joke, repeated three times, each time everything sounds fresh and develops into an almost verbatim adaptation of the biblical "Book of Job" - a spectacular point in a parable about how hard to empathize with other people's misery, when you have your own.

The camera shows the vivid paintings by late Júlio Régio, with a narrative by his brother, while guitar tunes underline the mood and rhythm of the cinematography.

Manoel de Oliveira's homage to Vila do Conde, with a poem by José Régio. It was shot in 1965, but only completed in 2008.

A young girl, Benilde, so protected by her religious family that she seemingly knows nothing about procreation, insists that her mysterious pregnancy is a miracle; however, her distressed bourgeois family decides that Benilde has lost her mind.

Manoel de Oliveira directs José Régio's historical epic of religious and political power struggles. King Sebastião plans to make Portugal the world's Fifth Empire.

In a mental institution the patients see themselves as people like Jesus, Lazarus, Martha, Mary, Adam, Eve, Sonia, Raskolnikov, Aliosha e Ivan Karamasov, a Philosopher, a Profet, Santa Teresa d'Avila, reciting the Divine Comedy.

Manoel de Oliveira plays his film in three stages: the first part - a play, the second can be roughly defined as a silent film (with the behind the scenes read excerpts from Beckett works), but in the end the director brilliantly performs the same material of the avant-garde exercise. Surprisingly, a joke, repeated three times, each time everything sounds fresh and develops into an almost verbatim adaptation of the biblical "Book of Job" - a spectacular point in a parable about how hard to empathize with other people's misery, when you have your own.

The camera shows the vivid paintings by late Júlio Régio, with a narrative by his brother, while guitar tunes underline the mood and rhythm of the cinematography.

In the time of King Leonardo, a war and the plague that accompanied it depopulated Traslândia. Ignoring these tragic events, Queen Isménia, Princess Camila and lady-in-waiting Narcisa, coming from a distant kingdom, arrive in Traslândia, when the war approaches the end.