A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.

A summer film. About summers. Two seasons splitting it apart by half a dozen years, the youth years – time it takes its characters to realise they’re getting lonely. Hellish summer ends and we’re on a little fishing village, river-side, in Lisbon’s south bank: people make life-changing decisions.

Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

In 1987, during the writing process of Quatre aventures de Reinette et Mirabelle, Nouvelle Vague master Éric Rohmer decided to leave out the fifth episode of the film and develop it into a theatre play instead. Inspired by the famous Mozart piece, he called it "Le Trio en mi bémol", and it went on to premiere at the end of that year at the Théâtre Renaud-Barrault under his direction. 35 years later, Portuguese filmmaker Rita Azevedo Gomes has now taken on the play and made it her own with the help and complicity of some dear friends. Conceived by Rohmer as a "comédie brève en sept tableaux", Azevedo Gomes respects the main structure, a series of encounters between two ex-lovers who still are very fond of each other. But in her version, Paul (Pierre Léon) and Adélia (Rita Durão) extensively discuss love, passion and tenderness for the camera of a film director (legendary Spanish filmmaker Adolfo Arrieta), who teases the actors at his whim. With her usual keen eye for beauty and elegance, Azevedo Gomes draws the best not only from her actors but also from the set, a beautiful sixties modernist beach house on the coast of the Minho region.

片名：上帝的婚礼 As Bodas de Deus
编导：若昂·塞萨尔·蒙泰罗 João César Monteiro
主演：
丽塔·杜朗 Rita Durão
若昂·塞萨尔·蒙泰罗 João César Monteiro
若阿娜·阿泽维多 Joana Azevedo
若泽·艾罗萨 José Airosa
曼努埃拉·德弗雷塔斯 Manuela de Freitas
路易斯·米格尔·辛特拉 Luís Miguel Cintra
安娜·加尔旺 Ana Galvão
若泽·莫拉·拉莫斯 José Mora Ramos
费尔南多·莫拉·拉莫斯 Fernando Mora Ramos
费尔南多·埃托尔 Fernando Heitor
若昂·利斯茨 João Listz
让·杜歇 Jean Douchet
菲莉帕·阿劳若 Filipa Araújo
索菲娅·马克斯 Sofia Marques
特蕾莎·内格朗 Teresa Negrão
保罗·米兰达 Paulo Miranda
玛丽亚·若昂·里贝罗 Maria João Ribeiro
蒂亚戈·库蒂莱罗 Tiago Cutileiro
安娜·曼迪略 Ana Mandillo
片长：147分钟
类型：喜剧
出品：葡萄牙/法国
语言：葡萄牙语
发行年代：1999
剧情简介：
葡萄牙导演若昂·塞萨尔·蒙泰罗《上帝三部曲》的第二部。1999年第52届戛纳电影节“一种关注单元”竞赛片。1999年阿根廷马德普拉塔电影节最佳影片。
似乎失去了上帝的倒霉蛋若昂João（若昂·塞萨尔·蒙泰罗饰）沮丧地坐在公园树荫下的一张长椅上，陷入伤心的回忆之中：他失去了他经营几十年的冰淇凌店和所有财产，更心痛他费尽心思所收集的少女们的阴毛被付之一炬。
或许上帝并没有忘记他，这是遣来天使（路易斯·米格尔·辛特拉饰），带给他装满钞票的一个行李箱。这足以让落魄的若昂欣喜若狂。然而附近湖面一个重重的落水声令他不安，他过去看看发生了什么事情。原来是一个年轻的女孩若阿娜Joana（丽塔·杜朗饰）溺水。他下水救起她并由一个墓地杂工把没有苏醒的若阿娜抱进了附近的一座修女院。若昂没有忘记上帝的礼物，他很庆幸那只行李箱等他回头时还在。
由伤心变为受宠若惊的若昂愉快地与贝尔娜达嬷嬷Sister Bernarda（曼努埃拉·德弗雷塔斯饰）共进午餐。酒后的若昂与醒来的若阿娜交谈，共叙这段情意，在海边的沙滩上，若昂分享了若阿娜分给他的半个石榴。
不久，若昂买下了里斯本郊外一座象宫殿一样的城堡，与使女过起了同“上帝对话”的日子。一天，若昂在露天酒吧遇到了石油大亨奥马尔·拉希德Omar Raschid（若泽·艾罗萨饰），交谈中两人很快就成了朋友。几天后，奥马尔带着美丽的波兰女友埃莱娜·贡布罗维奇Elena Gombrowicz（若阿娜·阿泽维多饰）登门拜访若昂。在晚餐后的赌牌中，若昂输掉了一大笔钱。第二天一早，若昂和奥马尔继续他们的扑克游戏，而前一个夜晚没有旁观赌局的埃莱娜希望他们进行一次头的猜牌赌法，结果若昂撞上了好运，他赢了奥马尔，还包括埃莱娜的人。
其实埃莱娜知道若昂曾经珍藏少女阴毛的事情，于是，告别了奥马尔的爱情和生活的埃莱娜，也让若昂来鉴赏她私处的毛发。但这时的若昂已非常恐惧导致他倾家荡产的这个当初爱好，偏好已转成喜欢欣赏女人的乳房，即刻他只想在埃莱娜身上寻找他理想中的纯洁和浪漫的爱情。漂亮豪华的花园里处处留下了他与埃莱娜嬉闹的身影。
为了给他和埃莱娜的婚礼助兴，若昂请埃莱娜来到里斯本的圣卡洛斯剧院观看歌剧《茶花女》的演出，体味上帝的“天赐香味”，结果遇上了一出剧场闹剧。当晚，也就是婚礼的前夕，若昂早已丧失的兽性欲望还是被埃莱娜的青春胴体和阴毛所唤醒......；他熟睡在这个漂亮的“波兰公主”怀抱。翌日，等他发现埃莱娜和他所有的钱已经同时消失时，若昂再后悔为时已晚。
然而，祸不单行，灾难永远不只会单独到来。若昂享受生活乐趣的这座城堡原来是一间名副其实的武器库，到处暗藏着杀人的武器。经过残酷的审讯，尽管警察不相信若昂用上帝的礼物所购买城堡的这番鬼话，但穷人进监狱，富人住进精神病院“疗养”的判决多少能让他愉快地玩耍，研究他可爱上帝，再说，无私“奉献”乳房的若阿娜还经常来探望这个能一饱眼福的救命恩人。
影片截图：

Pedro gets home at dawn. Before the young boy falls asleep, his lonely mother drags him to the beach.

North of Italy, the von Kettens dispute the forces of the Episcopate of Trent. Herr Ketten seeks marriage in a distant country, Portugal. After their honeymoon journey back home, Ketten leaves again for the war. Eleven years elapsed… Rumours are running about the presence of that 'foreigner' in the castle. Some say she's a heretic. Until one day, the Bishop of Trento ends up dying and, with the signature of peace, falls the background of von Ketten's life. Will the Portuguese win, where death seems to be moving in?

◎ 简　　介：
葡萄牙/法国2003年约阿·凯撒·蒙泰罗(《上帝的婚礼》)自编自导自演的喜剧片，戛纳电影节参展作品。
尚吁吁是个风流鳏夫，退休最大的精神寄托是以登广告征聘女佣为名，广交天下女界为实──沉迷女色是他一生执迷。尚吁吁当然是蒙特路又一次夫子自道，不同的是在开拍本片前蒙便自知不久于人世，其本色在此益更傲岸坚决，矢志不移。电影是蒙对这世界的最终凝眸与沉思，绵长而固定的长镜堪称历史纪录。影片使人不安，固然是蒙以他嶙峋的形骸演回这个‘老淫虫’的角色，然观众必得接纳他的幽默，才更体会蒙之才华：一个超级的走钢线艺人，在愤世与荒诞、猥亵与升华间踏取稀有的平衡。
◎ 关于影片：
《离去与回来》是葡萄牙老导演约阿·凯撒·蒙泰罗遗作，戛纳电影节参展作品。“约阿·凯撒·蒙泰罗，1934年2月2日出生于世界闻名的海滩胜地费古埃拉达佛斯，15岁时迁居里斯本。1963年在伦敦技术学校学习电影，并在1965年开始其第一部电影，直到5年后完成。改编自葡萄牙短篇小说的“Silvestre”入选了威尼斯电影节。1989的《黄房子的回忆》（Souvenirs from the Yellow House）获得了银狮奖。1995的作品《上帝的喜剧》（God's Comedy）也参加了威尼斯电影节并获评审团特别奖。他所有的电影以煽动性为主要特征。2003年2月3日在里斯本去世，《来与去》成为他最后一部作品。”