Who is João Vuvu in Come and Go?

João César Monteiro plays João Vuvu in the film.

What is Come and Go about?

COME AND GO (VA E VEM), 2003, Mandragoa filmes; 179 min. Defying good taste, conventional filmmaking and even the limitations of his then-weakening body, the late Portuguese film master Joao Cesar Monteiro completed his final masterpiece shortly before he died two months before its 2003 Cannes premiere. As widower-dandy-faux-bookish-intellectual Joao Vuvu (a variation on Monteiro’s longtime on-screen alter ego, Joao de Deus), the crafty and wiry Monteiro dominates his own film, an old man with loads of time on his hands whose every encounter with a new woman allows more wild, yet deadpan, provocations on sex, religion, race and finally, a filmmaker’s own central tool—his own eyes (actually, just one of them), staring back at us in one of the movies’ most indelible and strangest final shots. There’s nothing else like it—not even in this highly original filmmaker’s body of work, which stubbornly remains barely known in this country.

Come and Go

Name: Come and Go
Genre: Drama
Released: 2003-06-03

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Frequently Asked Questions

Who directed Come and Go?: João César Monteiro

Who is João Vuvu in Come and Go?: João César Monteiro plays João Vuvu in the film.

What is Come and Go about?: COME AND GO (VA E VEM), 2003, Mandragoa filmes; 179 min. Defying good taste, conventional filmmaking and even the limitations of his then-weakening body, the late Portuguese film master Joao Cesar Monteiro completed his final masterpiece shortly before he died two months before its 2003 Cannes premiere. As widower-dandy-faux-bookish-intellectual Joao Vuvu (a variation on Monteiro’s longtime on-screen alter ego, Joao de Deus), the crafty and wiry Monteiro dominates his own film, an old man with loads of time on his hands whose every encounter with a new woman allows more wild, yet deadpan, provocations on sex, religion, race and finally, a filmmaker’s own central tool—his own eyes (actually, just one of them), staring back at us in one of the movies’ most indelible and strangest final shots. There’s nothing else like it—not even in this highly original filmmaker’s body of work, which stubbornly remains barely known in this country.