The Museum of Modern Art (MoMA) is presenting a comprehensive retrospective of João César Monteiro's work, showcasing the complete filmography of one of Portugal's most provocative and influential directors. The exhibition features newly restored versions of all his films, offering audiences a rare opportunity to experience the full scope of his revolutionary cinematic vision.
João César Monteiro (1939-2003) stands alongside Manoel de Oliveira as one of the most significant Portuguese directors of the 20th century. However, while Oliveira's work was characterized by his fascination with religious and theatrical representations of life that made him an obsessive formalist, Monteiro took a radically different path. Drawing inspiration from the Marquis de Sade and the symbolist and surrealist literary movements, he brought an anarchistic and anticlerical spirit to his films that challenged conventional cinema.
As a true libertine, Monteiro consistently subverted trends and definitions throughout his career. His body of work, reminiscent of Erich von Stroheim's approach, focused intensely on the perverted mysteries of pleasure and decay. He excelled at the poetic translation of the sublime into various art forms—whether film, music, or literature—while simultaneously attacking what he perceived as a corrupt sociopolitical status quo that he identified with fascism in its many disguises.
These rebellious tendencies found their most complete expression through his cinematic alter-ego, João de Deus, a character whose name derives from a Portuguese patron saint of the poor, mentally ill, and sex workers. Monteiro himself portrayed this character in his acclaimed trilogy: "Recollections of the Yellow House" (1989), "God's Comedy" (1995), and "God's Wedding" (1999). Additionally, his fascination with the figure of Nosferatu became a recurring theme, bringing this iconic character to life on screen amid Lisbon's poetically decadent streets.
Monteiro's earlier works demonstrated his talent for reimagining classical narratives to serve his subversive purposes. Films like "Trails" (1978) and "Silvestre" (1981) saw him revamping traditional myths and folk tales as weapons to take aim at power structures within what he viewed as a despotic and vicious society. These films established his reputation as a filmmaker unafraid to challenge authority through artistic expression.
His most audacious provocation came with "Snow White" (2000), an extraordinary adaptation of Robert Walser's anti-fairy tale. This groundbreaking film was composed mainly of black film leader and voices, presenting audiences with an almost entirely dark screen. This radical approach challenged viewers to fill the visual void with their own phantom images while forcing them to reconsider the fundamental scope and possibilities of film language itself.
The current retrospective goes beyond merely showcasing Monteiro's own work. It also includes films by directors who influenced his artistic development, providing context for understanding his unique cinematic voice. This comprehensive approach offers viewers insight into the broader artistic movements and filmmakers that shaped Monteiro's revolutionary approach to cinema.
The exhibition precedes the publication of a significant new book that will feature English translations of Monteiro's own writings alongside interviews with his collaborators. This publication promises to provide additional depth and understanding of the director's artistic philosophy and working methods. The retrospective was organized by Francisco Valente, Curatorial Assistant in MoMA's Department of Film, with support from numerous international partners including the Cinema Guild, Cinemateca Portuguesa, and various Portuguese film archives and institutions.
