Portuguese director Joao Cesar Monteiro (deceased in 2003) was one of the most original and controversial directors working in European art cinema during the late 20th century. In his subversion of traditional culture (especially right wing politics and the Catholic Church) which he sees as extremely hypocritical, through nonsensical scenes, he can be compared with Luis Buñuel (but unlike the Spaniard, Monteiro was willing to put himself in front of the camera with the persona of an old, perverted lecher that was repugnant but also strangely affecting). Another fruitful comparison can be made with some of the later films of Georgian director Otar Iosseliani, though Monteiro's wit is far more subversive.
To retell the plot of this movie doesn't make much sense, since the situations are deliberately absurd. Monteiro plays the same character of his previous films, the lecherous Joao de Deus, and we see him getting a suitcase full of cash from a heavenly messenger, rescuing a drowning young lady and putting her into a nearby convent, and meeting a dubious couple that claims to be members of the nobility. The central gimmick of the movie is a very long, extended sex scene, in which old Monteiro himself (showing his nude, emaciated, cadaveric body) makes love to a luscious young nymphet. I found the whole scene unpleasing, and thought the movie would be better without it, but there is not denying its shock value.
Even if you find Monteiro's vision repugnant, there is no question that his absurdist scenes can be very funny. His preference for slow moving action and a static camera though is more of an acquired taste.
To retell the plot of this movie doesn't make much sense, since the situations are deliberately absurd. Monteiro plays the same character of his previous films, the lecherous Joao de Deus, and we see him getting a suitcase full of cash from a heavenly messenger, rescuing a drowning young lady and putting her into a nearby convent, and meeting a dubious couple that claims to be members of the nobility. The central gimmick of the movie is a very long, extended sex scene, in which old Monteiro himself (showing his nude, emaciated, cadaveric body) makes love to a luscious young nymphet. I found the whole scene unpleasing, and thought the movie would be better without it, but there is not denying its shock value.
Even if you find Monteiro's vision repugnant, there is no question that his absurdist scenes can be very funny. His preference for slow moving action and a static camera though is more of an acquired taste.