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After receiving a visit from a messenger of God, João de Deus wins his buddy's girlfriend through a roll of the dice.
João de Deus is the manager of an ice-cream shop owned by an ex-prostitute, Paraíso dos Gelados (Ice-Cream Paradise). Through a unmoved desire of perfection, he seeks, through cleansing and purity to attain heaven. The surrounding world, however, does not comply with his decaying vision of lust and decay as a way of achieving his purpose.
A story of love and spells.
While a nobleman is away to visit and invite the king to his daughter's upcoming wedding, a strange pilgrim knocks on his door for shelter. Said visit ends in a violent confrontation and the pilgrim takes on different identities to seek revenge. Meanwhile the nobleman goes missing and his daughter has to pose as a young knight to save him. Set in medieval times, the movie makes use of theatrical sets, lyrical language and a languid rhythm to give it a unique feeling of a folk tale being transmitted from long ago. The cast is led by the 15-year-old Maria de Medeiros and João César Monteiro's frequent collaborator Luís Miguel Cintra.
Another exceptional experience from the Portuguese auteur, this one is a strange tale of life and death, yes the simple topics presented in his oblique manner. As always his language remains a little elusive, just out of reach in its context/implication and honestly speaking this guy has a strange but sparkling way of narrating stories. Here, a young man called Samuel is about to jump in the bay when saved by an old guy who also plans do to the same, they go for a tour around the city together, one finds meaning and the other does not, and the several layers in the story is cleverly done. Well it is lesser than his other works I have seen so far but then again even if it is pseudo-philosophical, Monteiro's execution of certain long sequences is technically and aesthetically a delight to watch. It will not be of much meaning but his images have a trance like hold on you. And he is the master of lighting and depth. He shoots his film in such a fantastical tone, and that comes from his lighting, that his stories invariably take epic proportions, also helped by the dialog. This movie too bears his dark take on sexuality and his sharp sense of humor, and except the dance sequence (which I found very strange and inexplicable but filmed powerfully and emotionally) the movie is quite accessible and a tragicomic tale of all that goes on. The women are really beautiful and the city is filmed with elegance. Overall, the visuals are as always brilliant, and the story has its fair share of moments, but the film is probably a bit too slow for its own good.
Two actors performing in Strindberg's "Inferno" as God and Lucifer, find themselves competing in real life as well. One of them, Max Monteiro, has spiritual obsession with John Wayne and his way of walking. He and Jean de Dieu, his fellow actor who plays Lucifer and also directs the Strindberg play, engage in a philosophical and spiritual tug-of-war, especially when they meet an author named God, who has plans for another drama to feature both actors.
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.
The tribulations of two friends who, in despair, start begging from door-to-door, and are given a bundle including, literally, a pair of deadman's shoes.
The film follows soldiers escape and wander, talk, and drift aimlessly.
Lord knows where João de Deus has been. He's come home wounded in the head. He's got a bit of the soundtrack to Johnny Guitar in his head. Strangely enough, there is no sign of the hole in his head. Day breaks over the city. Further strolls are in sight. It is said that Mr. Monteiro, the alter ego of João de Deus, occasionally goes out with Nicholas Ray. At least, they've been seen together.