The movie feels like attending a memorial service because of its pervasive mood and sluggishness. I’ve never been particularly impressed by Portuguese cinema. While our country has beautiful locations and talented actors and technicians, I've rarely seen films that are both accessible to a wide audience and technically accomplished. It seems directors either pursue pretentious, academic projects that disappear after film festivals, or they resort to formulaic comedies with predictable jokes. This film, often cited as one of Manoel de Oliveira’s finest works, exemplifies the kind of obscure, lifeless, and confusing movie I'm describing. It likely garnered praise at festivals, and it’s fine that it received awards and positive reviews in Tokyo and São Paulo... but the reality is that, even among film enthusiasts, it has largely been forgotten after nearly three decades. For this production, Oliveira commissioned an original script from Agustina Bessa-Luís. Without intending to criticize her work, she delivered a story essentially based on “Madame Bovary,” set in the Douro region and drawing inspiration from its landscapes for a certain literary quality. It’s probably a compelling book, but it isn't well-suited for film adaptation, and Oliveira failed to recognize that. The experience of watching the movie feels indistinguishable from reading a novel, largely due to a narrator who speaks constantly and seems to be reading aloud. The narrative follows Ema from her youth until her death. Contrary to some interpretations, I don’t believe she is an innocent teenager; she's aware of her beauty, understands its effect on men, and exploits it for her own amusement, behaving in a way reminiscent of Lolita. The rest of the film feels out of place, with characters acting as if they lived in the 19th century rather than the 1980s: Ema’s marriage to Carlos de Paiva, owner of Vale Abraão Estate, is arranged by her father; their formal social life echoes that of Flaubert's bourgeois class; the practice of sleeping in separate beds seems odd, and the doctor’s early morning visits to patients are illogical. Oliveira and Bessa-Luís attempted to recreate a 19th-century bourgeois existence in modern times, but the result is anachronistic and unbelievable. The film features several recognizable actors with established careers in theater, cinema, and television. However, none of them deliver particularly strong performances. Leonor Silveira tries hard to appear elegant and alluring, and her movements and expressions are captivating… though also proud and affected. The character comes across as unpleasant due to his monotonous and tiresome nature and his pretentious demeanor. Cécile Sanz de Alba, the young actress who portrayed Ema as a teenager, is beautiful and striking, but lacks depth, simply fulfilling the requirements of the role. Luís Miguel Cintra is a capable actor, but here he embodies an empty man—an inert and emotionless figure. Ruy de Carvalho seems diminished from his previous work. Diogo Dória and José Pinto contribute little of significance. Technically, the film has some merits that I acknowledge. The frequent breaking of the “fourth wall,” with direct addresses to the camera and the use of a narrator, draws the audience in as silent observers. The Douro Valley landscape, along with the farms and stately homes used for filming, are effectively showcased, though certain details seem improbable (like the reliance on candlelight). The cinematography is striking, utilizing mirrors, shadows, and various lighting effects that Oliveira clearly labored over. I admire and respect this aspect, but it’s not enough to make a good film; it doesn't compensate for the somber atmosphere or the excessively slow pace—a film with funeral-like qualities and an accompanying soundtrack to match.

Source on TMDB