To celebrate the DVD release of Eugène Green's critically-acclaimed drama The Portuguese Nun (2009) - which stars Leonor Baldaque, Francisco Mozos, Diogo Dória and Ana Moreira - on 9 April, the ever-wonderful team at Artificial Eye have kindly provided us with Three DVD copies of the film to give away to our cinema-hungry readers. This is an exclusive competition for our Facebook fans, so if you haven't already, head over to facebook.com/CineVueUK, 'Like' us, and then follow the instructions below.
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- 4/12/2012
- by CineVue
- CineVue
As a film that has been met with almost unanimous critical praise, I am still wondering whether it was in fact Eugene Green’s A Portuguese Nun (2009) that I painfully and, eventually, begrudgingly endured. For this is without question one of the most tedious, long-winded and utterly pretentious films I have put myself through in a very long time.
It focuses on Julie (Leonor Baldaque) a French actress who goes to Portugal to act in a film, in which she will play a nun. Throughout her stay she meets an array of different characters, yet as these encounters come and go, she remains fascinated by a nun whom she regularly sees praying. After eventually meeting the nun she is finally filled with a sense of purpose and meaning in her life.
What, in essence, could make for an interesting piece of character exploration, somehow fails to connect or engage with...
It focuses on Julie (Leonor Baldaque) a French actress who goes to Portugal to act in a film, in which she will play a nun. Throughout her stay she meets an array of different characters, yet as these encounters come and go, she remains fascinated by a nun whom she regularly sees praying. After eventually meeting the nun she is finally filled with a sense of purpose and meaning in her life.
What, in essence, could make for an interesting piece of character exploration, somehow fails to connect or engage with...
- 1/22/2011
- by Daniel Green
- CineVue
Black Swan (15)
(Darren Aronofsky, 2010, Us) Natalie Portman, Mila Kunis, Vincent Cassel. 108 mins
Another tale of driven professionalism to go with Aronofsky's The Wrestler, but this goes further and gets away with more, whipping a tale of theatrical ambition into a delirious, hallucinogenic melodrama. Portman is superb as the brittle ballerina facing up to her nightmares when she lands her dream role, and between the punishing routines, her monstrous mother (Barbara Hershey) and the fever of performance, we're swept away.
Neds (18)
(Peter Mullan, 2010, UK/Fra/Ita) Conor McCarron, Martin Bell, Linda Cuthbert. 134 mins
Mullan turns his memories of 1970s Glasgow into a muscular yet compassionate youth drama. McCarron is outstanding as a bright boy whose promise is warped by brutal conditions in and out of school.
Morning Glory (12A)
(Roger Michell, 2010, Us) Rachel McAdams, Harrison Ford, Diane Keaton. 107 mins
McAdams delights and Ford grouches in a breakfast TV comedy that is...
(Darren Aronofsky, 2010, Us) Natalie Portman, Mila Kunis, Vincent Cassel. 108 mins
Another tale of driven professionalism to go with Aronofsky's The Wrestler, but this goes further and gets away with more, whipping a tale of theatrical ambition into a delirious, hallucinogenic melodrama. Portman is superb as the brittle ballerina facing up to her nightmares when she lands her dream role, and between the punishing routines, her monstrous mother (Barbara Hershey) and the fever of performance, we're swept away.
Neds (18)
(Peter Mullan, 2010, UK/Fra/Ita) Conor McCarron, Martin Bell, Linda Cuthbert. 134 mins
Mullan turns his memories of 1970s Glasgow into a muscular yet compassionate youth drama. McCarron is outstanding as a bright boy whose promise is warped by brutal conditions in and out of school.
Morning Glory (12A)
(Roger Michell, 2010, Us) Rachel McAdams, Harrison Ford, Diane Keaton. 107 mins
McAdams delights and Ford grouches in a breakfast TV comedy that is...
- 1/22/2011
- by The guide
- The Guardian - Film News
Mesmeric, subtly comic and weirdly gripping, this drama set in gorgeous Lisbon is one of the year's best. By Peter Bradshaw
Elegant, eccentric and absolutely captivating, this is simply a gem. It's a film with a heartfelt love of Lisbon – beautifully and calmly photographed – and with serene, almost eerie self-possession in its long, slow takes and stylised, decelerated speech. Director Eugène Green uses direct sightlines into camera in the manner of Ozu, and the mannered minuet of his dialogue clearly owes a good deal to Manoel de Oliveira. It produces the dream-like impression of a classical drama transplanted into a contemporary setting. Leonor Baldaque plays Julie, a French actor in Lisbon to shoot a movie based on the 17th-century tale of a nun seduced by a soldier. She becomes aware of spirits from the past arising before her and within her. Green's camera is perpetually trained on Julie's delicate face: an intense portraiture.
Elegant, eccentric and absolutely captivating, this is simply a gem. It's a film with a heartfelt love of Lisbon – beautifully and calmly photographed – and with serene, almost eerie self-possession in its long, slow takes and stylised, decelerated speech. Director Eugène Green uses direct sightlines into camera in the manner of Ozu, and the mannered minuet of his dialogue clearly owes a good deal to Manoel de Oliveira. It produces the dream-like impression of a classical drama transplanted into a contemporary setting. Leonor Baldaque plays Julie, a French actor in Lisbon to shoot a movie based on the 17th-century tale of a nun seduced by a soldier. She becomes aware of spirits from the past arising before her and within her. Green's camera is perpetually trained on Julie's delicate face: an intense portraiture.
- 1/21/2011
- by Peter Bradshaw
- The Guardian - Film News
If there's any modern director who could be called an ascetic of the spoken word, it’s Eugène Green. It’s not that his films aren’t talky; in fact, the majority of the action occurs in and around the dialogue (or, as in the case of Le monde vivant, within and out of the dialogue). Green believes firmly enough in spoken language—and in the inseparability of language from the culture that produced it, and in turn in the inseparability of ideas from the language they were conceived in—to never use it carelessly (there are no throwaway lines in a Eugène Green film), which is why it’s unsurprising that he prefers e-mail interviews and prefers to answer questions in French, his adopted language (he was born without accent marks over his first name in New York City and emigrated to France as a young man) and the...
- 10/22/2010
- MUBI
A stray Chabrol, the next Juno and more Toni Servillo brilliance are among this year's hidden gems on the festival circuit. Hunt them down now before they're buried for ever
Home festivaling is one of the few perks of losing mobility through a back injury. What better way to cover 300+ screen events across the UK for Empire Online's Festivals & Seasons page than letting them come to you? Much festival fare falls squarely into the three-star category. But, every now and then, a disc arrives in the post containing a gem that leaves you wondering how the distributors missed it. So here's a personal selection of the festival favourites that have either failed to secure a UK release in 2009 or are not currently on the schedule for next year.
10) Let's Dance (dir. Noémie Lvovsky, France)
Festivals are invariably stuffed with quirky ensemble pieces, with Laís Bodanzky's superbly choreographed The Ballroom...
Home festivaling is one of the few perks of losing mobility through a back injury. What better way to cover 300+ screen events across the UK for Empire Online's Festivals & Seasons page than letting them come to you? Much festival fare falls squarely into the three-star category. But, every now and then, a disc arrives in the post containing a gem that leaves you wondering how the distributors missed it. So here's a personal selection of the festival favourites that have either failed to secure a UK release in 2009 or are not currently on the schedule for next year.
10) Let's Dance (dir. Noémie Lvovsky, France)
Festivals are invariably stuffed with quirky ensemble pieces, with Laís Bodanzky's superbly choreographed The Ballroom...
- 12/21/2009
- by David Parkinson
- The Guardian - Film News
Above: Pema Tsedan’s The Search.
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
Now that the red carpets on Leicester Square have furled, the maddening din over square-jawed celebrities, and anthropomorphic foxes recede into distant memory, we can now safely cast a selected glance back at this year's London International Film Festival high and low lights. As is inevitable with a festival round up, we look for themes, or—with want for a better word—tropes to associate an otherwise geopolitical program. Fortunately some convenient ones did arise.
Most compelling of them was, perhaps, the enduring topic: faith. Or as Jonathan Romney quipped in a pre-screening introduction: "this year was a good festival for nuns." Of course, he was referring to both Bruno Dumont and Eugène Green’s Hadewijch, and The Portuguese Nun, respectively—though Jessica Hausner’s Lourdes also fits this broad description.
Green’s enjoyable latest “transubstantiates” Lisbon into a site of spiritual reckoning, steered...
- 11/7/2009
- MUBI
Belle Toujours
NEW YORK -- A sequel to the classic "Belle de Jour" as well as a self-proclaimed homage to its creators Luis Bunuel and Jean-Claude Carriere, this is a typically playful effort from that indomitable 98-year-old filmmaker Manoel de Oliveira. More of a footnote to the earlier film than a significant exploration of it, "Belle Toujours" is unlikely to have much resonance for those who have not seen its inspiration. But it well demonstrates de Oliveira's undiminished cinematic style and humor, as well as offering the delicious experience of watching veteran actor Michel Piccoli reprising his role as the devilish Henri Husson some 39 years later. The film recently was showcased at the New York Film Festival.
Unfortunately, Catherine Deneuve is not on hand as Severine, the housewife who relieved her boredom through prostitution. Here the role is played by another screen icon, Bulle Ogier, who well matches her predecessor in terms of icy beauty and refinement.
Running a scant 70 minutes, the film doesn't possess much of a story line. It begins with a sequence in which Husson watches an orchestra perform a Dvorak symphony and then spots Severine in the auditorium. The filmmaker allows a generous portion of the music to unfurl, signaling the unhurried pace of what is to follow.
Husson follows Severine back to her hotel, attempting to arrange a rendezvous, which she does everything she can to discourage. In between his efforts, he spends his free time imbibing whiskeys at an elegant bar, where, shades of the earlier film, he is observed with great interest by two prostitutes (Leonor Baldaque, Julia Buisel).
Ultimately, Husson is able to arrange a dinner with Severine, who naturally is quite interested in what exactly he whispered to her paralyzed husband so many years earlier.
It's easy to see that the director has aging on his mind in his portrait of these two former adversaries in the twilight of their years. There's a solemnity to much of the proceedings, from the carefulness with which Husson drinks his many whiskeys to the repeated shots of the Paris skyline to the detail with which the rituals of a fine dining experience are observed.
But there's an antic sensibility on display as well, including several surrealistic touches and nods to various elements of Bunuel's classic.
Piccoli is, as always, utterly compelling, and Ogier displays a formidable screen presence in what must have been a daunting assignment.
BELLE TOUJOURS
New Yorker Films
Credits:
Director-screenwriter: Manoel de Oliveira
Producer: Miguel Cadilhe
Co-Producer: Serge Lalou
Director of photography: Sabine Lancelin
Editor: Valerie Loiseleux
Costume designer: Milena Canonero
Production designer: Christian Marti
Cast:
Husson: Michel Piccoli
Severine: Bulle Ogier
Barman: Ricardo Trepa
Younger Prostitute: Leonor Baldaque
Older Prostitute: Julia Buisel
Running time -- 70 minutes
No MPAA rating...
Unfortunately, Catherine Deneuve is not on hand as Severine, the housewife who relieved her boredom through prostitution. Here the role is played by another screen icon, Bulle Ogier, who well matches her predecessor in terms of icy beauty and refinement.
Running a scant 70 minutes, the film doesn't possess much of a story line. It begins with a sequence in which Husson watches an orchestra perform a Dvorak symphony and then spots Severine in the auditorium. The filmmaker allows a generous portion of the music to unfurl, signaling the unhurried pace of what is to follow.
Husson follows Severine back to her hotel, attempting to arrange a rendezvous, which she does everything she can to discourage. In between his efforts, he spends his free time imbibing whiskeys at an elegant bar, where, shades of the earlier film, he is observed with great interest by two prostitutes (Leonor Baldaque, Julia Buisel).
Ultimately, Husson is able to arrange a dinner with Severine, who naturally is quite interested in what exactly he whispered to her paralyzed husband so many years earlier.
It's easy to see that the director has aging on his mind in his portrait of these two former adversaries in the twilight of their years. There's a solemnity to much of the proceedings, from the carefulness with which Husson drinks his many whiskeys to the repeated shots of the Paris skyline to the detail with which the rituals of a fine dining experience are observed.
But there's an antic sensibility on display as well, including several surrealistic touches and nods to various elements of Bunuel's classic.
Piccoli is, as always, utterly compelling, and Ogier displays a formidable screen presence in what must have been a daunting assignment.
BELLE TOUJOURS
New Yorker Films
Credits:
Director-screenwriter: Manoel de Oliveira
Producer: Miguel Cadilhe
Co-Producer: Serge Lalou
Director of photography: Sabine Lancelin
Editor: Valerie Loiseleux
Costume designer: Milena Canonero
Production designer: Christian Marti
Cast:
Husson: Michel Piccoli
Severine: Bulle Ogier
Barman: Ricardo Trepa
Younger Prostitute: Leonor Baldaque
Older Prostitute: Julia Buisel
Running time -- 70 minutes
No MPAA rating...
- 10/12/2006
- The Hollywood Reporter - Movie News
Belle Toujours
New York Film Festival
NEW YORK -- A sequel to the classic Belle de Jour as well as a self-proclaimed homage to its creators Luis Bunuel and Jean-Claude Carriere, this is a typically playful effort from that indomitable 98-year-old filmmaker Manoel de Oliveira. More of a footnote to the earlier film than a significant exploration of it, Belle Toujours is unlikely to have much resonance for those who have not seen its inspiration. But it well demonstrates de Oliveira's undiminished cinematic style and humor, as well as offering the delicious experience of watching veteran actor Michel Piccoli reprising his role as the devilish Henri Husson some 39 years later. The film recently was showcased at the New York Film Festival.
Unfortunately, Catherine Deneuve is not on hand as Severine, the housewife who relieved her boredom through prostitution. Here the role is played by another screen icon, Bulle Ogier, who well matches her predecessor in terms of icy beauty and refinement.
Running a scant 70 minutes, the film doesn't possess much of a story line. It begins with a sequence in which Husson watches an orchestra perform a Dvorak symphony and then spots Severine in the auditorium. The filmmaker allows a generous portion of the music to unfurl, signaling the unhurried pace of what is to follow.
Husson follows Severine back to her hotel, attempting to arrange a rendezvous, which she does everything she can to discourage. In between his efforts, he spends his free time imbibing whiskeys at an elegant bar, where, shades of the earlier film, he is observed with great interest by two prostitutes (Leonor Baldaque, Julia Buisel).
Ultimately, Husson is able to arrange a dinner with Severine, who naturally is quite interested in what exactly he whispered to her paralyzed husband so many years earlier.
It's easy to see that the director has aging on his mind in his portrait of these two former adversaries in the twilight of their years. There's a solemnity to much of the proceedings, from the carefulness with which Husson drinks his many whiskeys to the repeated shots of the Paris skyline to the detail with which the rituals of a fine dining experience are observed.
But there's an antic sensibility on display as well, including several surrealistic touches and nods to various elements of Bunuel's classic.
Piccoli is, as always, utterly compelling, and Ogier displays a formidable screen presence in what must have been a daunting assignment.
BELLE TOUJOURS
New Yorker Films
Credits:
Director-screenwriter: Manoel de Oliveira
Producer: Miguel Cadilhe
Co-Producer: Serge Lalou
Director of photography: Sabine Lancelin
Editor: Valerie Loiseleux
Costume designer: Milena Canonero
Production designer: Christian Marti
Cast:
Husson: Michel Piccoli
Severine: Bulle Ogier
Barman: Ricardo Trepa
Younger Prostitute: Leonor Baldaque
Older Prostitute: Julia Buisel
Running time -- 70 minutes
No MPAA rating...
NEW YORK -- A sequel to the classic Belle de Jour as well as a self-proclaimed homage to its creators Luis Bunuel and Jean-Claude Carriere, this is a typically playful effort from that indomitable 98-year-old filmmaker Manoel de Oliveira. More of a footnote to the earlier film than a significant exploration of it, Belle Toujours is unlikely to have much resonance for those who have not seen its inspiration. But it well demonstrates de Oliveira's undiminished cinematic style and humor, as well as offering the delicious experience of watching veteran actor Michel Piccoli reprising his role as the devilish Henri Husson some 39 years later. The film recently was showcased at the New York Film Festival.
Unfortunately, Catherine Deneuve is not on hand as Severine, the housewife who relieved her boredom through prostitution. Here the role is played by another screen icon, Bulle Ogier, who well matches her predecessor in terms of icy beauty and refinement.
Running a scant 70 minutes, the film doesn't possess much of a story line. It begins with a sequence in which Husson watches an orchestra perform a Dvorak symphony and then spots Severine in the auditorium. The filmmaker allows a generous portion of the music to unfurl, signaling the unhurried pace of what is to follow.
Husson follows Severine back to her hotel, attempting to arrange a rendezvous, which she does everything she can to discourage. In between his efforts, he spends his free time imbibing whiskeys at an elegant bar, where, shades of the earlier film, he is observed with great interest by two prostitutes (Leonor Baldaque, Julia Buisel).
Ultimately, Husson is able to arrange a dinner with Severine, who naturally is quite interested in what exactly he whispered to her paralyzed husband so many years earlier.
It's easy to see that the director has aging on his mind in his portrait of these two former adversaries in the twilight of their years. There's a solemnity to much of the proceedings, from the carefulness with which Husson drinks his many whiskeys to the repeated shots of the Paris skyline to the detail with which the rituals of a fine dining experience are observed.
But there's an antic sensibility on display as well, including several surrealistic touches and nods to various elements of Bunuel's classic.
Piccoli is, as always, utterly compelling, and Ogier displays a formidable screen presence in what must have been a daunting assignment.
BELLE TOUJOURS
New Yorker Films
Credits:
Director-screenwriter: Manoel de Oliveira
Producer: Miguel Cadilhe
Co-Producer: Serge Lalou
Director of photography: Sabine Lancelin
Editor: Valerie Loiseleux
Costume designer: Milena Canonero
Production designer: Christian Marti
Cast:
Husson: Michel Piccoli
Severine: Bulle Ogier
Barman: Ricardo Trepa
Younger Prostitute: Leonor Baldaque
Older Prostitute: Julia Buisel
Running time -- 70 minutes
No MPAA rating...
- 10/5/2006
- The Hollywood Reporter - Movie News
Film review: 'Anxiety'
You have to hand it to 89-year-old Portuguese master Manoel de Oliveira.
Not only does he regularly make films when others have long retired, but his latest is an ambitious, tremendously satisfying experience. "Anxiety" (Inquietude) is visually superb, narratively complex and ultimately moving in ways few films even aspire to.
Alas, this supremely artistic effort -- a special screening selection at the Cannes film festival -- is not commercial enough to warrant more than a minor domestic U.S. release, but it's a sure-fire hit for the festival circuit.
A composite film with three distinct but interconnected sections, "Anxiety" opens with an exquisitely rendered tete-a-tete between a philosophically suicidal old man (Jose Pinto) and his aging son (Luis Miguel Cintra) that tricks one into expecting a rich but stagey meditation on the bodily and mental deterioration that afflicts even the most well-respected and successful of men when they enter their autumn years.
Indeed, about 35 minutes in, both protagonists have fallen to their deaths, and the curtain falls on what has been a 1930s stage production of Helder Prista Monteiro's "The Immortals", with two well-heeled gents in the audience. The story picks up with the middle-aged unnamed "him" (Diogo Doria) and his younger "friend" (David Cardoso) becoming involved with a pair of high-class courtesans, picking up a thread from the play that the love of women can make men of any age feel young.
Mildly jealous of the more substantial patrons they must contend with, the two men develop a theory about Suzy (Leonor Silveira) and Gabi (Rita Blanco). Skilled in lovemaking, but essentially exotic caged animals, the beautiful sophisticates have inherited the stoic legacy of Marcus Aurelius, taking pleasure in sacrifice.
In a melancholy, fatalistic confession, not-long-for-this-world Suzy reveals that "happiness is a small thing" when she has had everything else she's ever wanted in the way of fine living.
Late at night, the "friend" sets out to console "him" with a strange tale called "Mother of a River", based on a short story by Oliveira collaborator Agustina Bessa-Luis.
In this gorgeously composed finale, a socially constricted village girl (Leonor Baldaque) turns to the mystical 1,000-year-old Mother (Irene Papas) in a metaphorical suicide that results in the former being declared a witch and being chased off by a swarm of black-robed matrons. She turns away from the lover (Ricardo Trepa) who encouraged her trying to break with traditions and becomes the new "Deep Water", magically merging with nature to become a guardian of humanity.
ANXIETY
Madrago Filmes, Gemini Films,
Wanda Films and Light Night
Screenwriter-director: Manoel de Oliveira
Producer: Paulo Branco
Director of photography: Renato Berta
Art direction-costumes: Isabel Branco
Editor: Valerie Loiseleux
Sound: Philippe Morel, Jean-Francois Auger
Cast:
The Immortals
Father: Jose Pinto
Son: Luis Miguel Cintra
Marta: Isabel Ruth
Suzy
Him: Diogo Doria
Friend: David Cardoso
Suzy: Leonor Silveira
Gabi: Rita Blanco
Mother of a River
Mother: Irene Papas
Fisalina: Leonor Baldaque
The Fiance: Ricardo Trepa
Running time -- 112 minutes...
Not only does he regularly make films when others have long retired, but his latest is an ambitious, tremendously satisfying experience. "Anxiety" (Inquietude) is visually superb, narratively complex and ultimately moving in ways few films even aspire to.
Alas, this supremely artistic effort -- a special screening selection at the Cannes film festival -- is not commercial enough to warrant more than a minor domestic U.S. release, but it's a sure-fire hit for the festival circuit.
A composite film with three distinct but interconnected sections, "Anxiety" opens with an exquisitely rendered tete-a-tete between a philosophically suicidal old man (Jose Pinto) and his aging son (Luis Miguel Cintra) that tricks one into expecting a rich but stagey meditation on the bodily and mental deterioration that afflicts even the most well-respected and successful of men when they enter their autumn years.
Indeed, about 35 minutes in, both protagonists have fallen to their deaths, and the curtain falls on what has been a 1930s stage production of Helder Prista Monteiro's "The Immortals", with two well-heeled gents in the audience. The story picks up with the middle-aged unnamed "him" (Diogo Doria) and his younger "friend" (David Cardoso) becoming involved with a pair of high-class courtesans, picking up a thread from the play that the love of women can make men of any age feel young.
Mildly jealous of the more substantial patrons they must contend with, the two men develop a theory about Suzy (Leonor Silveira) and Gabi (Rita Blanco). Skilled in lovemaking, but essentially exotic caged animals, the beautiful sophisticates have inherited the stoic legacy of Marcus Aurelius, taking pleasure in sacrifice.
In a melancholy, fatalistic confession, not-long-for-this-world Suzy reveals that "happiness is a small thing" when she has had everything else she's ever wanted in the way of fine living.
Late at night, the "friend" sets out to console "him" with a strange tale called "Mother of a River", based on a short story by Oliveira collaborator Agustina Bessa-Luis.
In this gorgeously composed finale, a socially constricted village girl (Leonor Baldaque) turns to the mystical 1,000-year-old Mother (Irene Papas) in a metaphorical suicide that results in the former being declared a witch and being chased off by a swarm of black-robed matrons. She turns away from the lover (Ricardo Trepa) who encouraged her trying to break with traditions and becomes the new "Deep Water", magically merging with nature to become a guardian of humanity.
ANXIETY
Madrago Filmes, Gemini Films,
Wanda Films and Light Night
Screenwriter-director: Manoel de Oliveira
Producer: Paulo Branco
Director of photography: Renato Berta
Art direction-costumes: Isabel Branco
Editor: Valerie Loiseleux
Sound: Philippe Morel, Jean-Francois Auger
Cast:
The Immortals
Father: Jose Pinto
Son: Luis Miguel Cintra
Marta: Isabel Ruth
Suzy
Him: Diogo Doria
Friend: David Cardoso
Suzy: Leonor Silveira
Gabi: Rita Blanco
Mother of a River
Mother: Irene Papas
Fisalina: Leonor Baldaque
The Fiance: Ricardo Trepa
Running time -- 112 minutes...
- 5/29/1998
- The Hollywood Reporter - Movie News
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