(+351) 226 156 500
from 25 JUN 2019 to 03 NOV 2019
The inaugural exhibition of the Casa do Cinema Manoel de Oliveira explores multiple representations of the house in the director’s films, focusing in particular on the film, Visit, or Memories and Confessions (1982), that was produced at a time when Oliveira, already in his seventies, was forced to leave the house where he had lived with his family for over forty years. The director decided that Visit should only be presented posthumously. It was thereby predestined to have a paradoxical statute: as a work of memories and confessions, in which the filmmaker remembers the past while discussing his own cinematographic convictions, while also providing a preview of themes explored in his subsequent films — the most substantial part of his oeuvre — which unexpectedly was still to come. The film’s overall tone revolves around saying farewell to a place, and to his own life, but it actually turned out to be more prophetic than testamentary.
The film harbours an eloquent expression of the importance of the house in Oliveira’s films, as revealed in the many houses featured in his work: those facing the street, as in Aniki Bóbó (1942) and The Box (1994) or those which, on the contrary, enclose spaces, as in Convent (1995), revolving around the diabolical dilemmas of the intimacy of a couple. The house-theatre of bourgeois farce in The Past and the Present (1972), the house-prison in Benilde or the Virgin Mother (1975), the two rival houses that lead to a tragic conclusion in Doomed Love (1978) or the romantic disenchantments of Francisca (1981). The ruined houses, offering views over the prosperous vineyards of the Douro, which stir up social eroticism in Abraham’s Valley (1993) or incendiary behaviour in The Uncertainty Principle (2002). The house-stage of My Case (1986), in which cinema is theatrically compelled to face itself, or the house-tomb of The Day of Despair (1992), in which the director theatrically stages his personal identification with Camilo Castelo Branco. The house-ship of A Talking Picture (2003), the house-island of Party (1996) or the house-world, an asylum for alienated persons, in The Divine Comedy (1991). The house from which one flees, in Gebo and the Shadow (2012), or to which one inevitably returns, in I’m Going Home (2001). The strange case of the house that is traversed between Journey to the Beginning of the World (1997) and Porto of My Childhood (2001), which simultaneously constitutes a beginning and end, halfway between memories and ruins. These are some of the houses which can be visited during this exhibition and its accompanying film series. They either serve as grounds for a social portrait of Portugal and an inquiry into the state of the world, or for a biographical construction of the director, as a space that embodies the origin and centre of gravity of his entire oeuvre, while also opening doors towards questioning the act of filming and the nature of cinematographic art. 
As a film set, theme, symbol, dramatic entity or stage, the house is the territory that underpins the relationship between the private and the public, and the individual and the collective. It is no accident that Visit rehearses themes that were explored a decade later in NO or the Vain Glory of Command, the great fresco with which Oliveira questioned the entire history of Portugal — from Viriato to the 1974 Revolution. This contrast of scales is extended, in Visit, to the tension between the word and image, between documentary recording and fictional recreation, between the visible and the invisible that, in addition to making space a condenser of different epochs, makes this film — and in this regard it resembles a house — a dense place, that accumulates dialogues and crossed various gazes between the past, present and future.
A film of beginning and return, Visit, or Memories and Confessions, demonstrates, like no other film, that cinema is a spectral art. A phantasmagorical device that Oliveira shows us — and in which he shows himself — in order, in a final word, and a final image, to demonstrate that it is possible to inhabit a film in the same way that we inhabit a house. 

Related Activities

14 JUL | 12H00
António Preto

29 SET | 12H00
Ricardo Vieira Lisboa

13 OUT | 12h00
Nuno Grande

27 OUT | 12h00
Regina Guimarães

Visit, or Memories and Confessions, 1982
PT - 68 min. 

25 JUN | 3PM
26 JUN | 5PM
27 JUN | 3PM
28 JUN | 5PM
29 JUN | 4PM
30 JUN | 6PM

NO or the Vain Glory of Command, 1990 
PT - 108 min.

25 JUN | 5PM
26 JUN | 3PM 
27 JUN | 5PM
28 JUN | 3PM
29 JUN | 6PM 
30 JUN | 4PM

7 JUL | 16h00 | Abraham’s Valley, 1993 
PT | 203 min.

9 JUL | 16h00 | The Past and the Present, 1971
PT | 115 min.

10 JUL | 16h00 | Party, 1996 
PT, FR | 93 min.

11 JUL | 16h00 | Benilde or the Virgin Mother, 1974
PT | 106 min.

12 JUL | 16h00 | My Case, 1986
FR | 88 min.

14 JUL | 16h00 | Doomed Love, 1978
PT | 261 min.

16 JUL | 16h00 | The Box, 1994
PT | 96 min.

17 JUL | 16h00 | Gebo and the Shadow, 2012
FR | 95 min.

18 JUL | 16h00 | Porto of My Childhood, 2001 
PT | 60 min.

19 JUL | 16h00 | I’m Going Home, 2001  
FR, EN | 89 min.

21 JUL | 16h00 | The Divine Comedy, 1991 
PT | 140 min.

23 JUL | 16h00 | The Old Man from Belém, 2014 / The Day of Despair, 1992 
PT | 19 min.
PT | 76 min.

24 JUL | 16h00 | The Convent, 1995 
FR | EN | PT | GR | 91 min.

25 JUL | 16h00 | The Uncertainty Principle, 2002    
PT | 133 min.

26 JUL | 16h00 | Magic Mirror, 2005 
PT | 137 min.

28 JUL | 16h00 | Francisca, 1981 
PT | 167 min.

All films will be presented in their original language, with English subtitles, except for Party, Mon Cas and I'm going home, which will have Portuguese subtitles.
Visit, or Memories and Confessions, 1982
NO or the Vain Glory of Command, 1990
Day of Despair, 1992
A Talking Picture, 2003
Porto of My Childhood, 2001
The Rite of Spring, 1962
The Past and the Present, 1971
Benilde or the Virgin Mother, 1974
The Divine Comedy, 1991
The Satin Slipper, 1985
Christopher Columbus: The Enigma, 2007
Anxiety, 1998

  • LocationHouse of Cinema
  • Days 25 JUN 2019 - 03 NOV 2019

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