Nocturno 29

Nocturno 29 begins where No compteu amb els dits left off: in front of the blank screen and the materiality of the screening. It goes deep into the future Eisensteinian structure of Portabella’s films, which do not advance through narrative linearity, but through a succession of semi-autonomous scenic pictures and almost always unexpected sequences. “A series or suite of situations that, although apparently unconnected, always revolve around a thematic development that gives body and unity to the story without resorting to the use of an anecdote as plot continuity” (Portabella 1968). The evocations of Antonioni, Bergman or Buñuel resonate in Portabella’s most crudely anti-bourgeois film.