God's Wedding

“I don't know how to give advice, and I detest respectability,” firmly states God's Wedding anti-hero (played by the director himself) in Monteiro's arguably most extreme film, a work that barely bats an eye as the director/star takes on nuns (“Rather alone, than in bad company,” he mutters as he darts away from them), dictatorships, the military, and social mores (especially in a notorious sex scene). Anointed “the most powerful man on earth” by a military-suited angel in a public park, João de Deus sets about using such privileges to sing inappropriate songs in a nunnery, eat pomegranates, riot in the opera, commit crimes against the state, seduce a young woman away from her oil-magnate lover, and more. “Which Rome are you like?” asks a prosecutor at the end, “the virtuous and patriarchal Rome, or the debauched and decadent one?” Rude, vulgar, and firmly entrenched in the pleasures (and decay) of the body, God's Wedding is proudly, thankfully, the latter.

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