Jose Alvaro Morais’s first feature, O bobo, set during the onset of the right-wing backlash against the Portuguese revolution in 1978. A group of friends are staging a play adapted from Alexandre Herculano’s novel The Jester—a mythic romance built around scenes from Portuguese history—in the abandoned film studio Lisboa Filmes. The film alternates between scenes from the play and the intrigues among the friends who are putting it on—including the murder of the instigator of the project, whose body is discovered in the studio during the rehearsal of the final scene. Six years in the making, the film presupposes a certain knowledge of Portuguese culture and recent history that I don’t have; but though I occasionally found myself at sea in following all the significations, the beauty of the mise en scene and Mario de Carvalho’s photography, and the grace with which Morais negotiates between different time frames and modes of narration kept me entranced. Combining the meditative offscreen dialogue of a film like India Song with the use of a historical play to investigate national identity (as in Raul Ruiz’s Life Is a Dream), The Jester offers a complex, multilayered view of revolutionary retrenchment that is worthy of standing alongside some of the best films of Manoel de Oliveira.