Rescued from the water by two Chinese people on a pilgrimage to Santiago de Compostela, he plunges into a thick and dangerous jungle in order to find his way again. Some time later, with no map or cellphone service to guide him and only a few supplies, Fernando tries to find his way back to civilization. But after a brilliantly edited photomontage that recounts the women's journey to date, Rodrigues shows the women finding Fernando unconscious by a riverbank. Fernando becomes more enigmatic as the story proceeds, disposing of his cell phone and burning off his fingerprints. He's captured by two fellow hikers who intend to castrate him as part of some strange ritual, but he escapes. Is it really that Fernando wants to go home? After meeting our Chinese travelers they drug him and Hog tie him.
Perhaps what he means to suggest is that if we are doomed to never change how and what we see, then we might at least try to imagine the various selves we become in the eyes of unknowable, innumerable others. After a sexy roll in the sand a confrontation happens. Acting as if on instinct, Fernando cleans up the murder scene and flees. Our Main character Fernando is lost in the woods. Fernando, a solitary ornithologist, is carried away by the rapids when he travels down a remote river in the north of Portugal, in search of black storks, an endangered species.
As his journey begins, Fernando ventures down a tranquil river in his kayak, observing rare birds through his binoculars and enjoying the desolation. The sensation is almost a trip without purposeful destiny. After an hour and a suggestion they would casterate him the next day, that was it for me, I left the theatre. It is currently seeking distribution. As the story goes on, he's compelling to watch navigate this world, with the sound design of rushing water or shots of birds flying through the air dominating the senses. I find that slightly annoying - I prefer films to have a beginning, middle and end, and this only has a beginning, middle and more of the middle. The opening shots present Fernando as one with nature, placing him in the middle of expansive wide-screen frames that emphasize environments above character.
Not every one of Rodrigues' inventions has a clear biographical equivalent. Naturally, people have their own discordant beliefs on what they should be doing in this world, and it leads to both chaos and surrealist enlightenment for a bird watcher named Fernando. I scene other movies where two dudes kiss and have sex but I don't think I've ever seen two men full frontal naked getting romantic. You may be hard-pressed, as I still am after two viewings, to decode the significance of the three half-naked huntresses who show up on horseback toward the story's close, the eerie resurrection that takes place in a darkened wood, or the unsettling ruptures of mood, identity and the proverbial fourth wall that take place as the movie draws toward its weirdly charming close. With some terrifying and surreal passages.
I can't say that I don't respect this film. Fei and Ling are both devout Christians pilgrims, as they call themselves , and it may well be a measure of Rodrigues' skepticism that he suggests their Good Samaritanism is not to be trusted. But none of them focuses exclusively on the subject as Rodrigues - who also proved to go to other ways with this film. If nothing else, the film reminds one of how strange and beautiful existence can be. After he assures them he is fine they ride off. This viewer was left in the dark.
It is experiencing a population decline in parts of India, China and parts of Western Europe. It's a plot-twist after another. It isn't clear whom Fernando calls on his cell phone after his swim; moreover the person on the other end of the line implores Fernando to take his medication, but what he's taking it for is uncertain. The best thing that can be said about this film is that it's not predictable. From one bizarre encounter, Fernando careens into many more: the odd rituals of drunken men dressed as shamans, a fleeting gay romance that turns deadly, suspicious birds that watch his every move.
Later after more travels he encounters some rowdy costumed men. Of course one will be tempted to impose meaning on all of this randomness and will probably be frustrated by the film's resistance to making that task easy. Thomas slices the neck of Fernando. In its elusiveness, avant-garde flourishes, and religious subject matter, The Ornithologist sometimes suggests a feature-length expansion of Rodrigues's experimental short Morning of Saint Anthony's Day 2012. You have my brother's whistle and knife. Nothing in the film thus far has suggested that the hero would react so coldly to a crisis, but then, Rodrigues has divulged so little about him that his behavior doesn't necessarily come as a shock.
But like the birds he studies, Fernando is mostly untethered from any discernible backstory, his wanderings seemingly fueled less by professional commitment or existential restlessness than a healthy appreciation for outdoor pleasures. But the simplicity of his mission is short-lived. There appear two Chinese lesbians tied up in a bondage relationship,members of a cult who dance and kill a boar in the middle of the night,a shepherd by the name of Jesus who makes out with the protagonist and who the latter ends up stabbing,nude huntresses riding horses and remains of a monastery. There's always something to ponder with this film, which gets stranger and more polarizing as it goes along. A spirit just burns within us.