IMDB
[quote]“I think my film represents above all the proof to those who want to understand and accept it, that poetry can’t be filmed, that it is useless to try” (João César Monteiro).[/quote]



197 MB - 16m 43s - XviD 1545 kb/s - MP3 96 kbps - 640*464


2.-Quem Espera por Sapatos de Defunto Morre Descalço (1970)
IMDB
[quote]This is a dense film, as convoluted as a shell. To misquote Rimbaud we might say that the "real film is elsewhere". What the producer has tried to film is not so much the film itself as its reflection, darkly, as if throught a mirror. Facing the mirror, then, Monica, through reflected words, reveals her tactics in the revelation of Lívio's tactics and frees herself through words. Here words are a moral choice, conscience laid bare, the assumption of truth. Monica's look (or that of her double) at a Lívio absent and out of the picture (the real film takes place off, quite apart from the illusion of the screen), forms part of a flow of fascination and repulsion which continually rules her inner dialogue. The aiscovery of her look? The discovery of the film itself, of course.
A transparent film, as open as a flying bird. Let us seek some other way of diagnosing its mysterious, vague movement.
What is it all about, after all?
João César Monteiro[/quote]



405 MB - 34m 15s - XviD 1545 kb/s - MP3 96 kbps - 640*464


3.-Fragmentos de um Filme-Esmola - A Sagrada Família (Joao Cesar Monteiro, 1972)
IMDB





4.-Que Farei com Esta Espada (Joao Cesar Monteiro, 1975)
IMDB
[quote]Que Farei Eu com Esta Espada? has its origins in the workers' demonstrations against the Portuguese presence in NATO.
The film attemps to show, by contrast, how it is possible to use a sword against the powerful American squadron.
João César Monteiro[/quote]



698 MB - 1h 03m 38s - XviD 1430 kb/s - MP3 96 kbps - 640*480



