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Arabian Nights: Volume 3, The Enchanted One(As Mil e Uma Noites: Volume 3, O Encantado)

✭ ✭ ✭ ✭   Read critic reviews

Portugal, France, Germany · 2015
2h 6m
Director Miguel Gomes
Starring Crista Alfaiate, Bernardo Alves, Carloto Cotta, Américo Silva
Genre Drama

In the trilogy’s final installment, Scheherazade doubts that she will still be able to tell stories to please the King. She escapes from the palace and travels the Kingdom in search of pleasure and enchantment. In the Kingdom, Scheherazade’s narration continues, following her father, the Grand Vizier, bird trappers training their pets, and a Chinese girl’s journey to Portugal.

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What are people saying?

What are critics saying?

60

The New York Times by A.O. Scott

There is a fine line between delving into the mysteries of life and engaging in mystification, and Mr. Gomes lands on the wrong side of it. There is something disingenuous in the way this movie disowns its own ambitions and scorns the possibility of clarity or coherence. Maybe its opacity is a matter of principle. Or maybe it’s just an excuse.

100

CineVue by Ben Nicholson

Gomes has created something truly unique and remarkable; a rally cry against the powers that have choked the fire out of his country and a love song to those he sees rekindling the flame. Its constituent parts may not be perfect, but what a stunning whole.

100

Village Voice by Calum Marsh

This is a masterpiece not because it culminates in some redemptive catharsis or clinching argument for social change, but because, by disavowing such facile ends, it meets the mess of life on its own clear and true terms.

80

Total Film by Jamie Graham

The great thing about Arabian Nights is that if one story isn't to your liking, another pops up, so the decision to give this tale a feature-length running time is perplexing. But quibbles aside, this is daring, magical filmmaking.

83

The Playlist by Oliver Lyttelton

It’s dizzying stuff, and virtually everything that Gomes tries his hand to works: it’s a film that’s moving, sad, exciting, fiery, and funny.

88

RogerEbert.com by Scout Tafoya

As the themes, characters and ideas from the first two parts begin to reappear, so too do full-figured women and gorgeous, semi-nude men right out of the earthly kingdoms of Pasolini.

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