The Portuguese director's last film and his last cinematic journey, this time in the back seat of a city bus traveling around Lisbon. The brilliant sun coming through the window shines its magical light over and over again on the frail figure of the aging, ailing poet, sybarite and philosopher João Vuvu (Monteiro). The lonely widower takes the same route every day, but for him the routine is a ritual-interrupted on rare occasions by minor incidents. His life takes on new shades of meaning, however, when his son, who had been convicted of murder, gets out of jail. Elegiac but not devoid of humor and still provocative, Comeand Go is about leaving the frame: saying good-bye to cinema, the city and his body. We enter and exit, appear and disappear, and bus No. 100 will one day depart without us. Only memories will remain, which in this case is cinema, an image of the past recorded (still) on celluloid film. Monteiro's last film brings together the key themes of his work, reminds us that its basis is both poetry and slapstick comedy (the figures of Monteiro's Deus and Vuvu owe a great deal to the characters created by Buster Keaton). Of course, this filmmaking, which constantly infringes upon the sphere of the profane, would not be possible without a series of erotic adventures and conversations with women that culminate in a startling and sacrilegious sex act.
São Paulo IFF 2003 - Critics Award Best in Perspectives
Jõao César Monteiro (1939-2003), one of Europe's most original and at the same time least-known filmmakers, was a director, actor, critic, writer and poet. He studied at the London Film School, though his work can't be attributed to any particular film school. His individual, erudite, eccentric and sometimes controversial films benefit from poetry, philosophy, theater and painting. If you were to look for cinematic inspirations in his work, then Buster Keaton would undoubtedly be one of the key figures for Monteiro. Raised during the time of the Salazar dictatorship, Monteiro aimed his stories, laced with black humor, at the guardians of public morality: the church, the state, the family. He pursued in his first films the sources of national foundation myths before later creating on screen the figure of a profane saint, João de Deus, who owes his name to the patron saint of prostitutes, fishermen and the mentally ill. As Haden Guest wrote, de Deus embodies the contradictions in the Portuguese director's work: an austere dandyism, a religious perversity, a sense of comic tragedy, a type of slapstick fatalism.
1969 Sophia de Mello Breyner Andresen (dokument)
1975 Que Farei eu com Esta Espada? / What Shall I do with This Sword? (dokument)
1978 Veredas / Paths
1986 Kwiat morza / À Flor do Mar / Hovering Over the Water
1989 Wspomnienia z Żółtego Domu / Recordações da Casa Amarela / Recollections of the Yellow House
1992 Ostatnie zanurzenie / O Último Mergulho / The Last Dive
1995 Komedia Deusa / A Comédia de Deus / God's Comedy
1997 Biodra Johna Wayne'a / Le Bassin du J.W. / The Hips of J.W.
1998 Śluby Deusa / As Bodas de Deus / God's Wedding
2000 Królewna Śnieżka / Branca de Neve / Snow White
2003 Odejścia i powroty / Vai e Vem / Come and Go