Joao Vuvu, a widower, has an only son who is in prison for a double homicide and a bank holdup. He lives alone in his spacious, sunlit house perched atop Monte Olivete in Lisbon’s historical quarter. It’s clear that Joao possesses a considerable fortune. An unsociable man, he takes bus #100 for his daily promenade, indefatigably repeating the same routine: he goes between the Praça das Flores and the Principe Real gardens and returns to his departure point, that is to say, his house. Only the occasional incident can upset this daily routine which seems to correspond to Joao Vuvu’s desire for isolation and exile and which makes him hostile to any social interaction. Books and records are his only company at home, although he’s beginning to feel the need of a cleaning woman. His demand for high qualifications makes it difficult for him to find anyone. His son’s release from prison and the disappointment engendered by Joao’s desire for an inheritor lead to a series of somber events that reveal Joao’s criminal tendencies. He becomes an outlaw. Their respective differences notwithstanding, the film alludes to two films: “The Fatal Glass of Beer” by W.C. Fields and “Monsieur Verdoux” by Charles Chaplin.
Production and distribution (4)
International releases (7)