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Manoel de Oliveira

Manoel de Oliveira, Visita ou Memórias e Confissões (Visit, or Memories and Confessions), 1982/2015, 35 mm, color, sound, 68 minutes. Manoel de Oliveira.

REMEMBRANCE TRUMPS REVELATION in Manoel de Oliveira’s Visit, or Memories and Confessions— “a film by me, about me”—that the venerable Portuguese director completed in 1982 and then decreed could not be shown until after his death, whether in characteristic deference to nineteenth-century literary tradition (cf. the compulsorily posthumous autobiographies of Mark Twain, John Stuart Mill, and Anthony Trollope) or in observance of an equally obsolete modesty. By the time the cinematic testament was exposed to the world after Oliveira’s decease at the age of 106 this past April (at screenings in his hometown of Porto, then in Lisbon, and finally at the Cannes Film Festival, where its single showing attracted a clamoring crowd of film curators and cinephilic critics), the sixty-eight-minute Visit had become a ghost story, narrated by a wraith and set in a haunted house, the

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