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A story of love and spells.
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.
Lisbon, 1989. A middle-aged poor idiot, tormented by an illness, lives in a cheap room in a family boarding house, in the old section of the city's waterfront.
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.
After receiving a visit from a messenger of God, João de Deus wins his buddy's girlfriend through a roll of the dice.
Eloi, a paunchy middle-aged man, finds Samuel, a young sad sack, about to kill himself by plunging into the sea. Eloi takes Samuel under his wing, giving him a hot meal and bringing him to a seedy night club to introduce him to Esperança, who is said to be the most beautiful sex worker in Lisbon—and is also Eloi’s daughter.
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.