Alice

I'm not a big fan of Portuguese movies but this was a step in the right direction for Portuguese cinema. It was shot with great detail and mastery, showing an image with a quality comparable to any Hollywood movie. However the photography was above the average of any typical Hollywood movie for it showed such special care which resulted in an involving touching experience. The soundtrack was very good too and very adequate. It was simple and effective helping to create an environment of deep sadness and anxiety. The plot is very simple and you can figure it out in the first 5 minutes, however this movie isn't about the story, it's about feelings and it is in that sense that I think it deserves, at least, 7 out of 10. The feelings of sadness, anxiety, hope and love are the main theme of this movie, and they are passed on to the viewer in such a sublime way that at the end of the movie you feel you ... (you'll just have to see it) What I tell you is that it's impossible to feel indifferent with this movie.

Only reason I didn't give it a better rate is very personal, I just don't like depressing movies...and this movies does push the same button a little too much.

The movies is great in all the point that Jorge TC mentioned. but still the movies is way to long and boring, nice soundtrack no doubt, but too much Manoel DE Oliveira wannabe. A good performance by the father, the girl in the shoe store was so pretty. The film is very sad and i think it was very oriented to the story of a Portuguese kid that disappeared and is parents say he was kidnapped. The film is made using some unknown Portuguese actors in the main parts but some more experimented felling the blanks. Not a bad acting and a sad story, to bad for the really slowing pace of the movie. If you liked this movie you really gonna like "Um Tiro No Escuro", way better movie.

One of the best Portuguese movies ever produced. A simple, straight story about Mario, a father searching for his missing daughter - Alice. Shooted in a dark, depressing way with strong and moving roles. Mario creates an illegal video surveillance network all over Lisbon, watching hours and hours of DV tapes every day in high speed, expecting to see some clue about Alice. One day the search seems to be over. If you like to watch different cinema with alternative views and ideas you can't loose this one! Won a prize at 2005 Cannes Festival. The music by Sasseti is also intense, somehow like some tunes by Tiersen in "Lenin" or "Amelie".

There is much to be said about this one. It's fantastic to be able to appreciate such a picture, to live the moment where this finally happened. I don't know much about M.Martins, i hadn't heard of him before this one (and practically no one had). i also don't know what he'll do next. But i put this one along with a very few number of "difficult to get better" first tries by any director (a list with titles such as "a bout de soufflé" or "citizen kane").

The city is the theme. Forget the story. It is there. Period. It serves the purpose of grasping a city hardly seen on screen before this. Period. that's all there is to say.

So this succeeds where "Ossos" and "O fantasma" had failed completely; in showing Lisbon out of clichés, of preconceived warmed up imagery's. Time goes on, cinema has to catch it. This is catching up with time.

This brings the city to zero ground. The screens (how many do we see during the film?) that belong to Lopes's character are the white canvas where actions draw themselves, in blue. The camera (an experimenting young director, says me) tries to fetch them, tries to make them eternal, all the scenes, everywhere. Lopes (the actor, real life and in this film) tries to get to them, he participates, he can even show up in front of a camera, but he can never control it. So, the actor as a pawn, constantly exposed, never in control. This is cinema, and Mário (Lopes) understands it the moment he sees 10 times his face on the screens of a store. He also performs a play, a comedy, inside the play which is the film. Double manipulation. Great material! He is an actor, manipulated to appear the way this visionary director wants, and he plays an actor, who is forced to perform something he is not the least interested in, to be able to proceed with his other function, which he thinks he controls, but he doesn't.

The camera can be "god", a character, or it can grab a character and follow it. The camera can be the spectator, our curiosity moving around. Here, the camera is a mood, a spiritual landscape, such as the music. It's a dot placed on the infinite. So it doesn't matter if it focuses or unfocuses, or what it focuses, first or second plan, cars pass in front, also people strange to the scenes (every people are strange here). "Freewill" framing, apparent chaos, apparent "no man" camera. This is the true quality of Alice. All so contemporary, all so apparently chaotic, still, everything controlled we don't know how, nor by whom. This is Lisbon.

Still, i don't hold the optimism (nor the skepticism) of the common Portuguese cinema buff. I don't watch this one as "the new path that will improve Portuguese cinema for good". One film, especially on this author basis, doesn't change a hole (inexistent) cinema industry. But i do think that, from a cinematic point of view; this is worthwhile, and has a place on the top of my shelve.

Dialogs subtle, right, rigorous. Music may be the only apparition of the missing Alice. Photos, flyers and even Alice herself don't count. This is one of the best minimalist soundtracks ever. Glass would make Koyaanisqatsi differently if he could have seen this first. But than again, this is so much better than Reggio's living-death tail of industrialization.

The city is blue, so is Alice's coat, he's always seeking blue... and failing to find it. Think about. You should watch this along with "Lisboetas". This one first.

My evaluation: 5/5 fantastic cinematic essay.

P.S. - I just feel pity that watching the making of and the extras makes me feel that this was all luck, and no one involved gave a single thought to what i just said. I wish the extra material could be more useful than just curious (it could be both).

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This movie by Marco Martins is the portrait of two characters played by Nuno Lopes and Beatriz Batarda (best Portuguese actress ever) whose child disappeared, Alice. Watching "Alice" isn't watching one of the more award-winning Portuguese author movies, that keep saying nothing about Portuguese culture or society. "Alice" is truly a masterpiece. Not of directing, but the film as a whole is an impressive piece of art. The score played by Bernardo Sasseti is surely one of the best we've ever listened to, not just in Portuguese cinema but in others too. The music fully transmits the father's loss, and on the other half the cinematography, with the blue tone of color during the entire picture, haunts us with Alice's presence, beside she never appears in the entire picture, but she's the reason the movie happens. The movie is about hope, and absolutely about it's loss, because we fight so many in time to achieve something that sometimes we get tired and quit on the edge. "Alice" quits