Documentário biográfico sobre a vida e a obra do cineasta Manoel de Oliveira, baseado em entrevistas e depoimentos do próprio, bem como de familiares, amigos e especialistas na sua obra, intercalados com imagens de arquivo dos seus filmes. Exibido na RTP no dia em que o realizador completou 99 anos de idade.

Documentário biográfico sobre a vida e a obra do cineasta Manoel de Oliveira, baseado em entrevistas e depoimentos do próprio, bem como de familiares, amigos e especialistas na sua obra, intercalados com imagens de arquivo dos seus filmes. Exibido na RTP no dia em que o realizador completou 99 anos de idade.

Portuguese television series

Manoel de Oliveira has been, and still is, the world's oldest active director. Born a little over 100 years ago, he shows no signs of slowing down, and is planning to release a book of poems.
In this edition of Cinéma, de notre temps, Manoel de Oliveira who was then writing his own version of Madame Bovary ("Vale Abraão"), accepts an invitation to spend a week with his comparatively young colleague Paulo Rocha to discuss his work. You'll learn among other things how a motor racing champion became one of the greatest directors, and you'll suspect Oliveira is blushing like a 15-year old virgin when Leonor Silveira enters the frame!

在奥利维拉那部美得让人心颤的杰作《聚会》中，那些内心欲望和禁忌交织的男男女女聚集在一个岛上，其间一男一女伫立在海边的礁岩上，下面是激荡的海浪，内心是激荡的欲望，女人看着一汪在岩石上凿出的泳池说：“看看这个游泳池。是在岩石上挖成的。这是我丈夫的母亲送给她儿子的礼物。在我看来，它象征着女人的子宫。”而男人只是回答：“我对种种象征都无动于衷。您喜欢赌博吗？”女人的回答是：“不喜欢，我喜欢散步。”这个男人对这个女人的询问与回答，这个女人对这个男人陈述与回答，都包裹着欲望的攻击和对欲望的遮掩和逃避。人在自己欲望面前的审慎和闪躲，直接指点出这些欲望本身的虚饰和沉沦，这个世界变得如此暧昧和纠缠，那些低垂在耳边被语言所裹胁的欲望，被语言所放逐的欲望，成为从红唇中吹出话语，内心的陈述看似整洁和典雅，但是一如碎片和泡沫交待给我们对自己历史的测不准的回忆，对现实的测不准的把握，对未来的测不准的忧郁。这就是奥利维拉对情感世界的展示，在静寂中还原情感运动的紊乱了的轨迹，这个轨迹向一条无法测准的曲线。——cinekino

Having lost her place among the social elite, a widow remarries and starts a family.

A well-bred, lovely, spiritual, sad young woman marries an attentive physician who loves her. She feels affection but no love. Soon after, without design, she falls in love with Pedro Abrunhosa, a poet and performance artist. He also loves her. She keeps her distance from him, confessing her love to a friend who is a nun and, later, to her husband. Hunger for her love and jealousy consume him; she attends him as he wastes away. With his death, she can marry and express her passion, but what she does and how she explains herself, particularly to her cloistered friend, is at the heart of the film. Glimpses of convent life and of Abrunhosa on stage give contrast and mute comment.