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As Mil e Uma Noites: Volume 1, O Inquieto (2015)

Not Rated | | Drama | 24 June 2015 (France)
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Some of the chapters from Arabian Nights are adapted to a modern Portugal in this epic.

Director:

Miguel Gomes
14 wins & 19 nominations. See more awards »

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Cast

Credited cast:
Crista Alfaiate Crista Alfaiate ... Punk Maria
Miguel Gomes ... Realizador
Maria Rueff Maria Rueff ... Ministra das Finanças
Bruno Bravo Bruno Bravo ... Homem do Banco Central Europeu
Rogério Samora ... Primeiro-Ministro
Dinarte Branco Dinarte Branco ... Homem do Patronato
Américo Silva Américo Silva ... Homem do FMI
Carloto Cotta ... Tradutor
Diogo Dória Diogo Dória ... Homem da Comissão Europeia
Adriano Luz ... Sindicalista / Luís
Basirou Diallo Basirou Diallo ... Feiticeiro
Luísa Cruz Luísa Cruz ... Dona do Bordel
Cristina Carvalhal Cristina Carvalhal ... Médica / Sereia
Chico Chapas Chico Chapas ... (as Xico Xapas)
Rest of cast listed alphabetically:
Susana Afonso Lopes Susana Afonso Lopes
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Storyline

Some of the chapters from Arabian Nights are adapted to a modern Portugal in this epic.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Official Sites:

Official Site [Portugal]

Release Date:

24 June 2015 (France) See more »

Also Known As:

As 1001 Noites See more »

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Box Office

Opening Weekend USA:

$906, 5 February 2016, Limited Release

Gross USA:

$12,017, 21 February 2016
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo (5.1 surround)

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Connections

Followed by As Mil e Uma Noites: Volume 3, O Encantado (2015) See more »

Soundtracks

Charnego do papai
Written by Zé do Rojao and Zé Calixto
Performed by Zé Calixto
See more »

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User Reviews

 
Arabian Nights Volume One
2 June 2016 | by lasttimeisawSee all my reviews

A binge-watching of Portuguese auteur-in-the-making Miguel Gomes' Herculean ARABIAN NIGHTS trilogy, his fourth feature, the much-anticipated follow-up after TABU (2012), his critically acclaimed present/past diptych stunner.

Consciously informing audience beforehand with its caption - "The film is not an adaptation of the book ARABIAN NIGHTS despite drawing on its structure", the three volumes of ARABIAN NIGHTS constitute an expansive ethnic dissection of Portugal's burning mire, all the stories told by Scheherazade (Alfaiate) stem from events confined within a single calendar year from August 2013 to July 2014 in Portugal, when its people are stricken with economic austerity and become impoverished, implement by the government which Gomez denounces devoid of social justice.

Volume 1, The Restless One, presents at the get-go a documentary preamble fixates on two paralleled topics, one is the closure of a large shipyard and its ramifications of workers' layoff, another is about the exigent countermeasure to the plague of wasps which blights the local apiculture.

After a brief introduction of Scheherazade and her nightly undertaking, she starts to narrate the stories, which allegedly should be scintillating enough to keep her alive from the killing-prone king.

The Men with Hard-ons is an outré caricature, government kingpins, including the Prime Minister of Portugal (Samora), are negotiating the future of the country with several other foreign capitalists, when a magician offers a cure of their collective impotence, they all accept it but soon find the flip side of a perpetual hard-on. This allegory runs out of gas quickly being too self- conscious all the time, it seems that ridicule is not Gomez's strongest suit.

The Story of the Cockerel and the fire, is executed with a more naturalistic spin, but the magic element continues, a love triangle (impersonated by three teenagers) is behind a sagacious cockerel's early-morning crowing, which causes some legal action for the owner and concurs with the election in an arson-rampant rural town. Weaving a fly-on-the-wall approach of fabricating a tall tale into expressing social critique with a critical eye, Gomes seems to find his footing.

The third story, the Swim of the Magnificents, carries on further with this methodology, plies audience with some very stimulating visual grandeur and idiosyncrasy, a fetid clinic (looks like being built in a cavity of a dead whale), follows by a stranded whale and its sudden explosion, leaves a struggling mermaid on the beach, a culmination achieved by a throng of people celebrating New Year's Day in the fashion of winter swimming in the sea, that is the spirit, alleviating the sore generated from the previous three accounts of personal crisis caused by unemployment. Blending real and surreal, Volume One ends with a moderately impressive note.


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