Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

西南深山云雾之间，有一处与世隔绝、漫山桃花的村寨，当朝世子左经纶（王弘毅 饰）赴西南上任途中误入此处，因外族人身份招来杀身之祸，却意外在这里找回内心的平静，并与敢爱敢恨的首领柳卿卿（黄羿 饰）发展出一段虐恋爱情。

西南深山云雾之间，有一处与世隔绝、漫山桃花的村寨，当朝世子左经纶（王弘毅 饰）赴西南上任途中误入此处，因外族人身份招来杀身之祸，却意外在这里找回内心的平静，并与敢爱敢恨的首领柳卿卿（黄羿 饰）发展出一段虐恋爱情。

Massimo Lucantoni (Gianfranco Manfredi) is a film writer in Rome, who is having some trouble with writing his first novel, beacuse he feels too much distraction. There are noisy neighbours and his wife who has actually been seperating from him. He takes the chance to rent a luxurious poolhouse from an excentric but obviously no more so rich as they pretend to be aristocratic couple. Living in that poolhouse he meets Nastienka (Nastassja Kinski), who is waiting for her prince charming in the near of the pool. She obviously beliefs in the supernatural world, as she explains to Massimo that her lover will soon arrive on a horse to take them both to a faraway place. Nastienka also has the ability to talk to animals (at least to her own dogs). Massimo falls in love with Nastienka and tries to win her love.

It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingeborg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus. You hear longing, accusations, doubts, expressions of intimacy and alienation, news of separations and lengthy silences. You sense their struggle for words. What these words trigger can be seen in the faces of those reading them out. It’s not only the text but also its effects that are being performed and occasionally discussed. The intensity of the relationship drama is generated via the fascinating language, the actors’ presence, and the camerawork and editing, which break up the dialogue via changing perspectives and shot sizes. Chats during cigarette breaks, in the stairwell and the canteen, lead into the present. History, which was stronger than love, never slips out of focus. berlinale 2016

昭和9年，9岁的姐姐春和家人从北海道移民到巴西圣保罗。因为在出发地神户发现眼病，7岁的妹妹夏被独自留在日本。 移民巴西坚韧生存在劳苦生活中的姐姐，经过日本战后经济复兴，在经济成长中独自生存的妹妹，分离70年的姐妹。描绘这段人生岁月，细致刻画的壮大的大河剧……

昭和9年，9岁的姐姐春和家人从北海道移民到巴西圣保罗。因为在出发地神户发现眼病，7岁的妹妹夏被独自留在日本。 移民巴西坚韧生存在劳苦生活中的姐姐，经过日本战后经济复兴，在经济成长中独自生存的妹妹，分离70年的姐妹。描绘这段人生岁月，细致刻画的壮大的大河剧……

人们的梦构成了梦境世界，这里由睡神掌管，他的梦沙可以给人们带来好梦。邪恶的哈布魔抢走了梦沙，想把它们变成噩梦沙来毁掉梦境世界。睡神派笨羊尼波莫克到现实世界找个勇敢的水手来对付哈布魔，尼波莫克误把想成为船长的小孩米克当成水手带回了梦境世界。在睡神的鼓励下，米克勇敢地斗败了哈布魔，拯救了梦境世界。