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Eccentricities of a Blonde-haired Girl (2009)
"Singularidades de uma Rapariga Loura" (original title)

 -  Drama | Romance  -  6 August 2010 (USA)
6.3
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Ratings: 6.3/10 from 1,102 users  
Reviews: 9 user | 52 critic

A young man falls helplessly in love with a mysterious blonde woman who turns his life upside down.

Director:

Writers:

(short story), (adaptation), 1 more credit »
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Title: Eccentricities of a Blonde-haired Girl (2009)

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Drama

Three connected stories set in Brazil following a visit of devil to earth, a case of adultery and the delusions of an ornithologist.

Edit

Cast

Cast overview, first billed only:
Ricardo Trêpa ...
Macário
...
Luísa
Diogo Dória ...
Francisco
Júlia Buisel ...
D. Vilaça
Leonor Silveira ...
Senhora
Luís Miguel Cintra ...
Himself
Glória de Matos ...
D. Sande
Filipe Vargas ...
Amigo
Rogério Samora ...
Chapéu de Palha
Miguel Guilherme ...
Faleiro
Rogério Vieira
Paulo Matos ...
Desconhecido
António Reis ...
Cónego Savedra
Miguel Seabra ...
Notário
Luís Lima Barreto ...
Desembargador
Edit

Storyline

On a train to the Algarve, Macário tells his story to a sympathetic woman he's just met. In flashbacks he arrives in Lisbon to work as an accountant and a broker for his uncle. From his office window, he sees a young woman, Luísa: he's intrigued and finds her beautiful; she holds a Chinese fan near her face. He arranges to meet her, and they fall in love. When he tells his uncle he wants to marry, not only does his uncle disapprove, he fires Macário who then leaves his uncle's home to live on his own. Penniless, he takes a job in Cape Verde to earn some money so Luísa and he can wed. Will she wait, and what of her peculiarities? His seatmate on the train wants the whole story. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

Country:

| |

Language:

Release Date:

6 August 2010 (USA)  »

Also Known As:

Die Eigenheiten einer jungen Blondine  »

Filming Locations:

 »

Box Office

Budget:

$2,500,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(Buenos Aires Festival Internacional de Cine Independiente) |

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
See  »

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User Reviews

 
Fantastic
16 May 2011 | by (Hell) – See all my reviews

"A tribute to the family of Eca de Quiroz, the author of this story. Adapted and updated by Manoel de Oliveira. " The lines that open Eccentricities seem like a basic informatory piece of text at first but in retrospect they are absolutely priceless. The aforementioned update is only surficial, more accurately environmental, and at its core the film is even more ancient than my grand-grand-grand-grand-father (RIP). This immense difference provides a vast ground for MdO to run over with what he made an entire oeuvre of; the dialectics between the different times, between the living and the dead, between expression of what we assume to be reality and the reality itself. What he excavates out of them here? Numerous biting and satirical touches capable of raising your awareness about the issues the film revolves around. This is one of the very few movies I can think of right now that is allowed to make a reference about the colonialism of the past and the present, (going to Cape d'Or to make money! The process only needs a plane now, back then it demanded much more) to cast a momentary glance and pass over it in a single moment like nothing has happened, like nothing is happening, as if all the exploitation means nothing. It doesn't make the film irresponsible because the joke is on us. It's even more ironic that the people in the film - we too - read about the past (the sneaky thing is that they read Eca de Quiroz so basically they are reading about themselves) then call it profound and clap. Film's lead character is not the only careless dreamer here. There's much more here, actually the film's density is one of the main reasons it's so impressive, but as I put it earlier I think Eccentricities can be called de Oliveira's ultimate statement on bridging different worlds between different people, different times, different artistic mediums and even different political stances; pointing out how we knowingly or unknowingly are intensifying the differences. If the film's ending seems so old-fashioned it comes off as two hundreds times as shocking as the entirety of the next big gorefest the reason is not that de Olivera is an inept filmmaker, it's because these dialogues have reached the critical mass.


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