Dir: Joao Pedro Rodrigues Cast: Paul Hamy, Xelo Cagiao, Joao Pedro Rodrigues, Han Wen, Chan Suan, Juliane Elting | Fantasy Drama | Portugal | 118min |
Portuguese auteur Joao Pedro Rodrigues won the main prize at Locarno for his avantgarde fifth feature. Good and evil collide during a Hearts of Darkness style odyssey through the verdant landscapes and lush forests of Northern Portugal.
The journeyman is gay birdwatcher Fernando (Paul Hamy) who is undertaking research, although his attitude to wildlife appears somewhat ambivalent. Paddling his kayak through the limpid waters of the River Douro, he is surprised by sudden rapids and disappears under water until he is later found and rescued by two Chinese girls (Han Wen, Chan Suan) purporting to be devout Christians on a pilgrimage along the Camino de Santiago (in Spain). But there is a price to pay for saving his life. Clearly they pari have lost their way literally and metaphorically. But they are not the only untrustworthy people Fernando is to come across during his trip. A deaf mute shepherd called Jesus; a group of exuberant Careto revellers and a trio of Latin-speaking Amazonian girls on horseback, all appear to be have dubious intentions. Although Rodrigues’ film is a modern gay-themed version of the parable of Saint Anthony of Lisbon (and of Padua) patron saint of lost things and devotion to the poor and sick, this stylish arthouse offering could also serve as a metaphor for our journey through the 21st century’s pitfalls.
A visionary freethinker and consummate storyteller, Rodrigues brings a resonant stillness and contemplativeness to his film along with bursts of joie de vivre – as in the scene where Jesus drinks milk straight from a goat’s teet. Animals play a significant part here from exotic birds to dogs and local fauna. Cinematographer, Rui Pocas, cleverly evokes the interaction between man and beast. Fernando becomes irritated when a white dove he has tried to cure – possibly representing the Holy Spirit – then seems to be following him. Rodrigues leads us into all sorts of blind alleys with an immersive narrative full of textural richness that also echoes the journey seen in the recent Embrace of the Serpent. Those flumuxed by Miguel Gomes Arabian Nights will be encouraged to hear that The Ornithologist is also a great deal more accessible than the Inebriated Chorus of Chaffinches segment in the trilogy.
There does seem to be some poetic licence over geography in the piece: the Chinese girls are heading for Santiago de Compostela but somehow have wandered into Portugal and the film ends up in Padua, Italy presumably in reference to St Anthony dying there, although this is initially bewildering unless you know the religious background. The gay elements of the film feel entirely in the natural in the milieu and Fernando’s transformation into Saint Anthony dovetailing elegantly into the final scenes show we are never far from salvation. MT
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