A look at the urban society of the seventies. The story of Marta a young and pretty girl, who leaves her husband to search for her true identity. She doesn't quite know what she wants, but ... See full summary »
A look at the urban society of the seventies. The story of Marta a young and pretty girl, who leaves her husband to search for her true identity. She doesn't quite know what she wants, but at least she knows what she's escaping from. Soon she encounters financial difficulties and finds herself involved with shady characters, a situation that leads to a mysterious murder. The net closes around her. Written by
For the first time in a Portuguese movie, the producer relied on product placement to help finance the film, that he started with his mother's (anticipated) inheritance and a small official subsidy. Some scenes of Maria Cabral were shot with emphasis on an ice-cream or a dentifrice tooth-paste label, the red label of a major whiskey producer, the national best selling trademark beer, orange juice and green whine, a bank and naturally, the Japanese still camera used for the star's photo sessions and choice of lady wear. Since the producer was also the director, he managed it so that the placements go unnoticed by most of the public. See more »
Maria Cabral is a one woman show VERY worthwhile seeing.
She has been compared to Monica Vitti, not that their bodies or faces are alike, but because they were two actresses extremely photogenic and of whose faces you can't deviate your eyes for a minute.
The director is obviously in love with this young, boyish, devilish attractive woman. We wonder how he felt when the character of a photographer on location (on one of Lisbon's most scenic gardens) hugs her, and rolls with her under a water shower...
The story is grim - the siege (as the title says in Portuguese) of a young, defenceless woman by all the preying men (and if you're attentive to the innuendos... the women) around her. The film opens with big plans of Maria Cabral's face, and then a thin strip goes geometrically around her, encircling her. I believe that is a piece of film - and the director does encircle his subject, 'Marta', from all possible angles, in all situations you may think of.
Both to recall places, and music of the early 1970s, and not to miss this great (short-lived for the movies) star, you should try to get your eyes on this movie.
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