Oliveira returned to the center of Portugal’s film scene in the 1960s with Acto da Primavera, a work that marks a significant change in the director’s trajectory and that initiates some of the cinematic strategies that he would develop more fully in later films. In Acto da Primavera, Oliveira offers a version of a popular representation of the Passion of Christ, enacted by members of a rural community in northern Portugal, derived from the Auto da Paixão de Jesus Cristo (1559), by Francisco Vaz de Guimarães.
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Infidelity threatens to break up a marriage in this evocative feature from legendary Japanese director Mikio Naruse. Tsuma concerns the struggles of a woman who finds out that her husband is cheating on her; to avoid the stigma of a broken marriage, she decides she’ll do whatever it takes to keep him with her. Tsuma was adapted from a story by Fumiko Hayashi, who wrote about women’s cultural struggles in 1950s Japan and whose writings formed the basis for five other Naruse films.
King Henry VIII wants to divorce his wife, and seeks the approval of the aristocracy. Sir Thomas More is a man of principle and reason, and is thus placed in a difficult position: should he stand up for his principles, risking the wrath of a corrupt King fond of executing people for treason? Or should he bow to the seemingly unstoppable corruption of King Henry VIII, who has no qualms about bending the law to suit his own needs?
The setting is a ”new” Tokyo suburb. The school is clean, well run, and the movie takes place in the five-day period before, during and after a ferocious, seemingly liberating typhoon, which five of the students endure while marooned in the school’s gymnasium.
The film follows several lower-middle-class, thirtysomething characters in the city of Santiago de Chile. Tito has moved to Santiago in search of a better life and works as a car salesman but is unhappy, as his job finds him under constant pressure and scrutiny from his boss, Rudy. One weekend when he must pass Rudy the paperwork which will close a car deal, Tito meets up with his sister Amanda and a stranger called Lucho. During a drunken dinner, they encounter many interesting characters and discuss many topics, including utopianism. This conversation almost causes a fight with a neighboring table of young men who are singing patriotic songs.
After a line of mischief Philip Gale, an American sailor, is lured into hiring on the “Yorikke”, a tramp cargo, by Lawski, a stoker from Poland. Still, the two become friends within the motley crew of losers from all nations. Gale and his new companion soon are more than disillusioned: the “Yorikke” is far from seaworthy and more of a coffin than a ship, work is close to slavery, and treatment by the officers and their subalterns is harsh and cynical. One day they make an alarming discovery in a tin of plum butter they have procured from the ship’s cargo…
Each night in Paris, hundreds of men and women anonymously use telephone lines that date from the German Occupation and are no longer listed to talk to each other, to love each other. These people, shipwrecked lovers, are dying to love, to escape the abyss of solitude.