MISTÉRIOS DE LISBOA triunfa junto da crítica britânica

MISTÉRIOS DE LISBOA estreou-se a 9 de Dezembro em Inglaterra, em duas salas de cinema, nas cidades de London e Bristol, destacando-se uma vez mais com unanimidade junto da crítica internacional ao recolher elogios de importantes meios de comunicação social, tais como THE GUARDIAN, LONDON EVENING STANDARD, que distinguiram a adaptação camiliana com a nota máxima, THE INDEPENDENT ou THE TELEGRAPH.

A 16 de Dezembro, o filme de Raúl Ruiz vai ser exibido numa terceira sala da capital britânica e vai também chegar a Manchester.

No final do ano, a aplaudida e premiada obra de Ruiz estreia-se ainda nas capitais da Irlanda e da Escócia. 

«Mysteries of Lisbon is intensely and captivatingly strange, a sinuous melodrama about secrecy, destiny and memory in which everyone involved appears to be in a state of hypnosis and on the edge of departing for some Magrittean alternative universe. “Mysteries” is exactly right. (…) The characters act their lives in a world seamlessly woven from dreams and waking, or like figures from a toy theatre brought miraculously to life, with mannerism that are often eccentric and bizarre (…) It could be that Ruiz has some kind of satirical relationship with his source material, that he has taken its preposterous intricacy and, entirely deadpan, constructed from it a meditation on the arbitrariness of fate and unknowability of the past. Or perhaps he has just found in it the ideal basis for a gorgeous, mesmeric spectacle, and one with great human warmth. (…) the cinema of Ruiz offers enormous and unique pleasure.»
THE GUARDIAN, Peter Bradshaw

«Raúl Ruiz has left a mammoth testament to his art in this adaptation of a novel by Portugal’s equally prolific Camilo Castelo Branco. This is a filme whose collection of the well-bred and of pirates, prelates, cuckolds and seducers walk through the past and the present like an orchestra by an ironic Ruiz with enormous care.»
LONDON EVENING STANDARD, Derek Malcolm

«Mysteries is strikingly handsome and well-dressed, and as stately as the great costume dramas of Luchino Visconti. (…)The labyrinthine sprawl of narratives – akin too Balzac,  Dickens and period pulp master Eugène Sue – feels as if it could have expanded infinitely. (…)Mysteries of Lisbon is a subtle delirium, and a magnificient late magnum opus from a director who was one of a kind.»
THE INDEPENDENT, Jonathan Romney

«In a last great burst of creativity, he [Raúl Ruiz] gave us Mysteries of Lisbon, and here it is – all 4 ½ hours of it – reminding us of Ruiz’s gift with light and colour, his ambitions with narrative and his preoccupations with myth, the avant-garde and 19th -century classicism, all at once. (…) For its use of sunlight and candlelight – often simultaneously – and lavish variations on a celadon colour palette, it’s certainly one of the loveliest films ever shot digitally, full of shots you could freeze-frame and look at for hours. Yes, even more hours.»
THE TELEGRAPH, Tim Robey

«The central thread is that nothing, no person, no character that we meet is what they first seem to be. So you have the sort of sense of going behind the camera, behind the mask. Everything and everyone is revealed to have a past, to be something else. It is extraordinary exhilarating.»
BBC RADIO, Ian Christie 

«Intricate storytelling has never looked so good. (…) It’s easy to get swept along by the storytelling, with its elements of fairy tale, soap opera, potboiler and bodice-ripper (…) Central to the picture’s success is André Szankowski’s cinematography. Vermeer interiors, Constable landscapes – he does the lot. Most hypnotic are the elaborate ballets that his camera performs to prolong the life of a shot (…) Ruiz and Szankowski favour the unbroken shot that waves and dances around the actors.»
NEW STATESMAN, Ryan Gilbey

«Raúl Ruiz crams an epic quantity of narrative into four and a half hours of screen time, every minute of which will keep you on your toes (…) you are swept along by the rush of narrative. (…) Visually, the film is exceptional – that is to say, it looks as if it were filmed in an era without electricity, often with principal players in shadows.»
TIMES HIGHER EDUCATION, Duncan Wu

«It is the most exquisitely intense film of 2011 (…) Mysteries of Lisbon, though, is likely to remain the epitaph of a master who reached earlier peaks with his cryptic classics (…) Even the interior scenes in private quarters and opulently dressed Visconti-ish ballrooms and drawing rooms (…), are devoid of vibrant colour, as if painted by Rembrandt.»
THE ARTS DESK, Graham Fuller

«A masterly swan song from a filmmaker who never failed to provoke and excite, this represents the extravagant pleasures of 19th – century fiction with as much cinematic aplomb as anything since Stanley Kubric Barry Lyndon»
RADIO TIMES, Trevor Johnston

«Abetted by a superb cast and an intricate, if operatic, script, Ruiz displays a mastery of cinematic and storytelling technique that ensures this epic saga remains utterly engrossing (…) Storytelling of breathtaking scale and grandeur (…). »
EMPIRE, David Parkinson

«This is a truly elegant piece of filmmaking. Ruiz works his optical magic, ensuring that the adventurous and sumptuous cinematography more than matches his beguiling, swirling plot.»
THE VIEW LONDON, Isabel Stevens

«Formally breathtaking, each visual trick and theatrical device also propels the story forward, subtly underlining the tropes and patterns in Branco’s dense source material. »
METRO, Colin Kennedy 

WWW.MISTERIOSDELISBOA.COM