Maria de Medeiros Movies

Director Joao Cesar Monteiro has posed his actors in front of painted backdrops to act out the two 15th-c. fables that form the basis for this theatrical-literary film. Because of its static style, as though moving from one literary illustration to the other, the film does achieve some sense of life many centuries ago (assuming, as we do, that life then was not at the same frenetic pace as in the modern world). ~ Eleanor Mannikka, Rovi

In a specialized, hermetic drama about love won and lost, not necessarily by the same individuals, novice director Christine Laurent has focused on the backstage melodramas of an opera company. The conductor for an upcoming performance of the Marriage of Figaro has his mind and heart on other matters -- an entrancing diva who keeps him enraptured with her presence and voice. In the meantime, he finds fault with his cast members who cannot, of course, measure up to the woman of his dreams. As singers encounter one problem or another, it is clear that something has to be done about the conductor. Director Laurent designed costumes for both theater and opera, giving her some insight into the venue. ~ Eleanor Mannikka, Rovi

At the suggestion of a friend, Constance (Miou-Miou) places an ad in the paper offering her services as a reader in this romantic comedy drama. Her job leads her to a variety of employers and occasional romantic involvement. Maria Casares plays the widow of an East European general who has Constance read Tolstoy and Marx. Pierre Dux is the local magistrate who prefers to hear the memoirs of the Marquis de Sade. She also has an affair with a harried business executive played by Patrick Chesnais. This film was named the "Best Feature" at the 1988 Montreal World Film Festival. ~ Dan Pavlides, Rovi

A number of colonial wars in Africa in the 1970s have resulted in the conscription of Alex's father Pedro into the Portuguese Army. The young man and his father write to one another frequently, and it seems as if they are still close. However, at some point, the letters stop coming. Alex and his mother are worried that Pedro might have been killed or captured, but that particular concern is soon replaced by another when they learn from a returning soldier that Pedro has been back in Portugal for several months. When he is persuaded to return to his home, it becomes clear that he might have been wiser to stay away. ~ Clarke Fountain, Rovi

As a way of getting on in the world, working for wages and constantly being in danger of being fired or laid off is a pretty poor system. In this movie, pretty, young Aimee decides that marriage to the right man is a much better bargain. Though she is very fond of an impoverished bookstore owner, the man who meets her strict criteria is a famous and high-strung restaurant critic. After cohabiting with her new spouse for a while, she goes for the really big-time payoff that comes with divorce and stages everything entirely to her satisfaction. Of course, it takes an iron will and tremendous concentration for this passionate girl to play such a stern, money-grubbing role, but she's up to the task. ~ Clarke Fountain, Rovi

The multi-volumed Akermania consists of several early projects of avant-garde filmmaker Chantal Akerman. Volume one includes three titles. Saute Ma Ville (1968) is not only first on the bill, but also represents Akerman's very first directorial effort. Hotel Monterey (1972) is a remarkable chronicle of a once-resplendent New York hotel, fallen on hard times, and I'm Hungry, I'm Cold (aka J'ai faim, j'ai froid, 1984) originated as an episode of the omnibus feature Paris vu par...20 an apres. ~ Hal Erickson, Rovi

This dark and intense drama follows the slow and painful destruction of a young, passive woman as she watches her family fall apart. Maria is the shy and dutiful daughter upon whose shoulders the family traumas have fallen. In addition to a regular job she cooks, cleans, and studies. Her parents offer no assistance as her father is blind, with a tendency towards violence when drinking. His wife, the focus of his violence is terribly unhappy. After a particularly brutal beating, Maria's brothers rise up against the father and end up leaving the home. It is up to Maria to try to bring the factions together. Maria's pressures increase after she calmly stabs her boss during an attempted rape, and then copes with her mother's suicide. ~ Sandra Brennan, Rovi

A French army journalist bears witness to the atrocities of the Algerian war in 1962 in this gripping French war movie. It is based on the 1967 novel by Philippe Labro. The film begins in Paris as Jerome Carier, ready to embark to Algiers, is beaten and questioned about the politically sensitive photographs he has. The photos were sent to him by Francois, a friend stationed in Algiers. Francoise is trying to get the French and the Algerians to reconcile. Jerome arrives in the war-torn country and finds himself faced with unbelievable carnage. The French are behind most of it. Because he took the pictures, Francois life is in jeopardy. He is murdered and Jerome finds himself attracted to his girl friend, a radio station announcer. The film contains graphic pictures of the slaughter. ~ Sandra Brennan, Rovi

Outrageously violent, time-twisting, and in love with language, Pulp Fiction was widely considered the most influential American movie of the 1990s. Director and co-screenwriter Quentin Tarantino synthesized such seemingly disparate traditions as the syncopated language of David Mamet; the serious violence of American gangster movies, crime movies, and films noirs mixed up with the wacky violence of cartoons, video games, and Japanese animation; and the fragmented story-telling structures of such experimental classics as Citizen Kane, Rashomon, and La jetée. The Oscar-winning script by Tarantino and Roger Avary intertwines three stories, featuring Samuel L. Jackson and John Travolta, in the role that single-handedly reignited his career, as hit men who have philosophical interchanges on such topics as the French names for American fast food products; Bruce Willis as a boxer out of a 1940s B-movie; and such other stalwarts as Harvey Keitel, Tim Roth, Christopher Walken, Eric Stoltz, Ving Rhames, and Uma Thurman, whose dance sequence with Travolta proved an instant classic. ~ Leo Charney, Rovi

A little philosophy can be a dangerous thing. Especially if it comes from the sudden blinding insights of the none too bright. Such insights, based upon totally illogical conclusions form the basis of this devilishly dark, distorted French absurdist comedy. At the beginning of the eccentric tale, a noted author deliberately drives his car into a brick wall, a suicide method employed by the protagonist of his last novel. Taxi driver Evangila and her brother North are deeply upset their favorite author's sudden death. They discuss the deeper implications of his act, and deduce that the author killed himself because he was increasingly obsessed with the notion that he was actually a character in someone else's novel. Finding their conclusion perfectly sound, the duo make the next logic leap and decide that they too are literary characters in someone else's book. That being the case, then all responsibility for their actions lies on the writer's shoulders, not theirs; therefore, they can do whatever they want with no consequence. Meanwhile the writer's bereaved widow, Karenina, decides she wants to join her husband in death. She makes several sucide attempts, but someone always 'rescues' her at the crucial moment. In desperation, she decides to simply leap from a tall bridge. As Karenina plots her demise, North and Evangela continue to wrestle with their newfound philosophy. The newest twist is that the author of their lives is in reality their god. Since he is the tangible, living being who dictates their every move, they decide to consult a priest in the hope that he can convince their Creator to meet them and answer a few burning questions. Unfortunately the priest can't help them and suggests that perhaps someone near death could provide more insight, someone about to commit suicide perhaps? Evangela and North, figuring a tall bridge is a good place to encounter a suicide immediately go to a certain bridge and end up meeting Karenina. When a spiritualist and God Himself get involved the story really goes off the deep end and that is when the fun really begins. ~ Sandra Brennan, Rovi

The third feature from popular Spanish filmmaker Juanma Bajo Ulloa is a sprawling and complex action comedy with a touch of Almodovar-esque surrealistic absurdity that simultaneously satirizes gangster movies, film noir, and the Catholic Church. Juantxo is the chief protagonist. Coming from a bourgeois family, he has had all the opportunities to fulfill his father's wishes by obtaining a university degree, getting a high-paying job and making a place for himself in high society. The trouble is, Juantxo is a socially awkward idiot and a mamma's boy. He is, however, engaged to a rich and beautiful woman. A few days before his wedding, Juantxo's buddies Konradin and Paco persuade him to go out for a final night of oat-sowing. They are not long at the stag party when Juantxo falls for an exotic prostitute. Unfortunately he loses his fiancee's expensive engagement ring while messing with the hooker. Later, this valuable ring is discovered by Villambrosa, a gangster/pimp/international drug runner. His enemy Souza finds out about the ring and sends his sexy moll Fatima do Espirito Santo, a new age girl who can levitate, to investigate the situation. Meanwhile, Juantxo and friends frantically search for the ring. They have three days to find it and their journey takes them on a riotous road trip that leads them into the depths of the Mafia underworld. ~ Sandra Brennan, Rovi