| Leonor Silveira | ... | Alfreda | |
| Ricardo Trêpa | ... | José Luciano / Touro Azul | |
| Luís Miguel Cintra | ... | Filipe Quinta | |
| Leonor Baldaque | ... | Vicenta / Abril | |
| Glória de Matos | ... | Nurse Hilda | |
| Isabel Ruth | ... | Celsa Adelaide | |
| Adelaide Teixeira | ... | Queta | |
| Diogo Dória | ... | Police Comissioner | |
| José Wallenstein | ... | Américo | |
| Maestro Atalaya | ... | Prof. Oboé | |
| P. João Marques | ... | Priest Feliciano (as Padre João Marques) | |
| Marisa Paredes | ... | Monja | |
| Michel Piccoli | ... | Prof. Heschel | |
| Lima Duarte | ... | Priest Clodel | |
| Eugénia Cunha | ... | Costureira (seamstress) | |
| João Alves | ... | Noémia's daughter | |
| Filipa de Almeida | ... | Alfreda (as Filipa Almeida) | |
| Pedro Lopes | ... | Musician | |
| Maria Castro | ... | Musician | |
| Vera Ferreira | ... | Musician | |
| Daniela Costa | ... | Musician | |
| Joana Costa | ... | Musician | |
| Duarte de Almeida | ... | Bahia (Alfreda's husband) | |
| Susana Sá | ... | Noémia | |
| Rogério Vieira | ... | Warden | |
| David Cardoso | ... | Flórido |
Directed by | |||
| Manoel de Oliveira | |||
Writing credits | ||
| Agustina Bessa-Luís | (inspired by the book "A Alma dos Ricos") | |
| Manoel de Oliveira | (adaptation and dialogue) | |
Produced by | |||
| Miguel Cadilhe | .... | producer | |
| Henrique Espírito Santo | .... | consulting producer | |
Cinematography by | |||
| Renato Berta | |||
Film Editing by | |||
| Valérie Loiseleux | |||
Production Design by | |||
| Mónica Baldaque | |||
Costume Design by | |||
| Arlete Campos | |||
Makeup Department | |||
| Ana Ferreira | .... | hair stylist | |
| Emmanuelle Fèvre | .... | makeup artist | |
| Ana Maria Palma | .... | key hair stylist | |
| Iris Peleira | .... | makeup supervisor | |
Second Unit Director or Assistant Director | |||
| Paulo Guilherme | .... | first assistant director | |
| Ângela Sequeira | .... | second assistant director | |
Art Department | |||
| Júlio Alves | .... | assistant art director | |
| Fernando Areal | .... | property master | |
| Francisco M. Laranjo | .... | graphic designer | |
| Cristina Lucas | .... | assistant art director | |
| Adelaide Maria Trêpa | .... | assistant art director (as Adelaide Trêpa) | |
Sound Department | |||
| Mikaël Barre | .... | sound editor | |
| Pascal Chauvin | .... | foley artist | |
| Eric Ferret | .... | foley mixer | |
| Christophe Gagnot | .... | post-production sound | |
| Jean-Pierre Laforce | .... | sound mixer | |
| Ricardo Leal | .... | boom operator | |
| Henri Maïkoff | .... | sound | |
| Frank Mettre | .... | sound re-recording mixer | |
| Franck Tassel | .... | assistant foley artist | |
Special Effects by | |||
| Sérgio Aragão | .... | special effects technician | |
Camera and Electrical Department | |||
| Joaquim Antunes | .... | key grip | |
| Haim Asias | .... | steadicam operator: Israel crew | |
| Marco Bozzetti | .... | steadicam operator: Italian crew | |
| José Coimbra | .... | machinist | |
| Miguel Efe | .... | key grip | |
| Hugo Espirito Santo | .... | electrician (as Hugo Santo) | |
| Ariel Glikson | .... | assistant steadicam operator: Israel crew | |
| Fernando Gomes | .... | key electrician | |
| Francisco Oliveira | .... | assistant camera | |
| Francisco Oliveira | .... | still photographer | |
| Pedro Pereira | .... | electrician | |
| Jean-Paul Toraille | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Piedade Antunes | .... | costumer | |
Editorial Department | |||
| Ana de Lurdes | .... | negative cutter (as Ana de Lourdes) | |
| Catherine Krassovsky | .... | assistant editor | |
| Loïc Lallemand | .... | supervising editor | |
| Dora Rolim | .... | colorist | |
Music Department | |||
| Luís Carlos Atalaya | .... | musician: piano | |
| Sofia Braga | .... | musician | |
| Diogo Coelho | .... | musician | |
| Daniela Costa | .... | musician | |
| Joana Costa | .... | musician | |
| Erika Dos Santos | .... | musician: violin | |
| Vera Ferreira | .... | musician | |
| Christopher Koppits | .... | musician: Oboé | |
| Catarina Oliveira | .... | musician | |
| Ana Tojal | .... | musician | |
Other crew | |||
| Joana Bastos | .... | production assistant | |
| Filipa Bernardo | .... | production assistant | |
| Júlia Buisel | .... | script supervisor | |
| Iftach Gabay | .... | production chief: Israel crew (as Iftach Gabbay) | |
| Dorit Kfir | .... | production co-ordinator (as Dorina Kfir) | |
| Teresa Leal | .... | production assistant | |
| Edgar Medina | .... | production assistant | |
| Raam Shaul | .... | assistant production manager: Israel crew | |
| Luís Souto | .... | financial director | |
| Marta Vaz de Sousa | .... | production secretary | |
| Nuno Vieira | .... | personal assistant to director | |
| Pedro Vieira | .... | information coordinator | |
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| Il giardino dei Finzi Contini | The Bridge of San Luis Rey | Talk to Me | Touch of Evil | Giant |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Portugal section |
This was part of a 2 film retrospective (for lack of a better term) at the Anthology Film Archives in NYC of recent works by Manoel de Oliveira (the other film was The Fifth Empire-Yesterday as Today). This is the better of the two films. This one has one of the more surreal plots of any de Oliveira film. It concerns itself with a rich woman (played by Leonor Silveira, a mainstay in Manoel's films) who has a strong desire to witness the Virgin Mary. 2 con men (one of whom has been just released from jail and the other is trying to go "clean", but doesn't seem to be trying too hard) devise a scheme to milk her out of some money and hire a local girl to portray the Virgin Mary for her. The plot here is actually quite funny, and this is one of de Oliveira's most surreal, touching, and beguiling films. The performances are all first rate, and the film has a wonderful, languid pacing to it (like most of Manoel's films). There is even a strange, dreamlike scene that takes "place" in Venice. It looks like a projection mistake when I first saw it, but then realised it was supposed to look like that, it made a sort of unique sense. I was rather disappointed at the crowds for these films (there was only 10 people in the audience for Magic Mirror, only 6 for The Fifth Empire), but I stayed for the duration of both films. I'm glad I'm did. Much of Manoel's work is not on DVD, but if you get a chance to see any of his work, please do. Even his minor films (like Party) are pretty good.