1978年，澎湖西吉嶼遷村後成為無人島，王船儀式依然深植集體記憶，象徵對亡魂的安息與不捨。儀式中，遺體安置於王船，漂向大海，隱喻靈魂歸返與生命輪迴。黑水溝流域船難歷史賦予此儀式深刻的精神意涵。影片無旁白、無字幕，透過畫面與聲音重現儀式，並結合3D掃描與電腦動畫，探索海洋文化的情感與歷史脈絡。

1978年，澎湖西吉嶼遷村後成為無人島，王船儀式依然深植集體記憶，象徵對亡魂的安息與不捨。儀式中，遺體安置於王船，漂向大海，隱喻靈魂歸返與生命輪迴。黑水溝流域船難歷史賦予此儀式深刻的精神意涵。影片無旁白、無字幕，透過畫面與聲音重現儀式，並結合3D掃描與電腦動畫，探索海洋文化的情感與歷史脈絡。

剛剛申請到美國矽谷高薪工作的單身女子怡安，突然發現自己懷有八週的身孕，瞬間陷入了「拿掉小孩，追求職業成就」或是「離開職場，當起家庭主婦」的兩難局面。 　　隨著怡安性格上的「理性」與「感性」的衝突逐漸升溫，她內心對於「家庭生活」的恐懼感像是深不可測的大怪獸，從內心深處裡爬了出來，將她吞噬。

Sets out on a part-time job with a pension ipjusik poor college summer break CC is a gyeonghwan and Eun Sook. However, starting with the first murder in the summer due to the part-time pension owner who thought only pleasant memories of when. The wind started to pervade into blood can not get outside, holding back the truth eolhimyeonseo misunderstanding and mixed indiscriminately slaughter river managers con myoryeong Russian model Irina implementation of the party and hang out with the finish on the pension. Beyond the imagination of ordinary people was very plain and birit avoid slaughter group.

Sets out on a part-time job with a pension ipjusik poor college summer break CC is a gyeonghwan and Eun Sook. However, starting with the first murder in the summer due to the part-time pension owner who thought only pleasant memories of when. The wind started to pervade into blood can not get outside, holding back the truth eolhimyeonseo misunderstanding and mixed indiscriminately slaughter river managers con myoryeong Russian model Irina implementation of the party and hang out with the finish on the pension. Beyond the imagination of ordinary people was very plain and birit avoid slaughter group.

在一个养老金ipjusik贫困的大学暑假兼职工作CC是一个庆焕和恩淑。 但是，从夏天的第一次谋杀开始，由于兼职养老金所有者，他只想到了愉快的回忆。 风开始弥漫成血不能出去，隐瞒真相的烈渊西误会和混同滥杀河川的管理人员con myoryeong俄罗斯模型Irina执行党和hang out with的养老金。 超乎常人想象的是非常平凡和birit避免被屠杀的群体。

若く才能のある美大生と偶然に出会って同棲を始めた画家崩れのサラリーマン。二人はお互いを認め合い、毎日お互いを求め合った。そんな日々の中、美大生のデッサンの授業に超美形のモデルが登場する。その話を聞いたリーマンは、そんないい男なら久し振りに絵を描いてみたくなったから、そのモデルを家にも呼ぼうと言い出す。狭い空間に全裸のモデルと二人の男。そこから淫らな愛欲の日々が始まり、やがて…。濃密な空間で繰り広げられる愛憎劇。

影片讲述了李敏浩扮演的男主角，为了从“腐女”房东那里租到房子而假装自己是同性恋，两人住到一起后发生的有趣故事。

《他人的取向》是一档将出演嘉宾的日常毫无保留地展示给观众，观众看到他们的取向进而确认自己的取向的综艺节目。

In 1992 Oliveira made O Dia do Desespero, which deals with the last days and suicide of Romantic novelist Camilo Castelo Branco and is based largely on the writer's letters. Most of it was filmed in the house where Castelo Branco in fact committed suicide. The film opens, midway through the credits, with a 50-second static shot of a pen-and-ink portrait of the writer. Other portraits, always shot with a static camera, punctuate the film's narrative, lending it a documentary tone from the outset. 　　The spectator might expect, at this point, that the “story” will now begin. However, the man seated at the desk stands up, faces the camera, and introduces himself as the actor Mário Barroso, who will be playing the role of Camilo Castelo Branco (and who played Castelo Branco in the earlier Francisca), and offers information about the writer. A bit later in the film, Ana Madruga, the actress who plays Castelo Branco's companion Ana Plácido, does the same thing, at the same time briefly serving as a “guide” to the Castelo Branco museum where the film was shot. Despite the existence of these ostensibly “documentary” elements – the house, the portraits, the actors presenting themselves as such – O Dia de Desespero, Oliveira insists, is a fiction film, but it is one that refuses to deceive the spectator (in Baecque and Parsi, 56) by pretending to be what it is not. In O Dia de Desespero and other films, Manoel de Oliveira questions the ontological status of such terms as “fiction” and “documentary” and challenges, through the pursuit of his own cinematic vision, some of the filmic and narrative conventions that have come to dominate mainstream commercial cinema. His films also challenge the spectator to think about, rather than passively accept, that which is shown on the screen.