I saw this movie because it was on the LGBT list on Netflix. That's all I knew about it. That's all I know about it by the end. The movie has scenes of wilderness with someone speaking Portuguese, so I immediately assumed it was Brazil. It is only when we are introduced to two Chinese lesbians who don't know where they're at do I realize that the movie is set in the wilderness of Portugal. I didn't even know they had wilderness in Portugal. The girls' presence is explained simply enough, but their fanatical turn is the first of many absurdities that I couldn't follow. Sometimes the construction of shots are beautiful enough to sustain interest for a time, but by the time the topless Amazonian women speaking Latin make their appearance, I'm pretty much done. It helps to read the Wikipedia article on St. Anthony of Padua before watching the movie, as he is the patron saint of Portugal, of lost people and things, of animals, etc. Things make more sense, but not in a pleasing or interesting way. So I came looking for a LGBT movie about an ornithologist but got a bizarre allegorical tale about a Catholic saint who has sex and murders a shepherd names Jesus on his way to Padua in Italy. There's even hints of St. Sebastian imagery thrown in for good measure. Not good.

I went along with partner as it was his date idea ( we take it in in turns) so trusted it might be OK and wanted to be surprised so didn't read the synopsis (last time I do this), We are birdwatchers so knew it wasn't a documentary however, didn't expect it to become so warped with 45 mins. In my daily work, I listen to people's stories and however, the characters we meet ie the two clueless Christian? Chinese girls just doesn't ring true. The elaborate knots they tie the Portuguese ornithologist in, seems highly unlikely as they are lost and walk around in a beautiful fresh air forest with masks on???? really??? what's wrong with fresh air, you're in nature. After an hour and a suggestion they would casterate him the next day, that was it for me, I left the theatre. Honestly, don't waste ur time and money. what a waste of film.

Ornithology is a sorta hobby for me, and at least in the beginning of the movie the movie delivers - it is beautifully shot and there are some great shots of some beautiful country and beautiful birds as well.But then the movie descends into this art house nonsense, and I was pretty irritated that I had invested my time in what turned out to be some sad statement.Typical. I don't really care about the story's point of view, honestly I'm pretty irritated that Netflix recommended it 'based on' my like of another movie that was a very good mystery/thriller... this is nothing at all like that. Its just a meandering bit of nonsense trying to drive home an old point that I get and could care less about - get over it.

The distinct individualism of João Pedro Rodrigues' worldview is turned inward via an unflaggingly intriguing poetical riff on the life of St. Anthony of Padua in "The Ornithologist." While possibly the director's most accessible film to date, calling this visually striking work "accessible" doesn't mean most audiences will fully understand Rodrigues' delightfully meandering paths, nor appreciate his homoerotic, playfully blasphemous modernised hagiography. Religious conservatives will be as apoplectic as they were with Godard's "Hail Mary," but art-house lovers, including those not always in sync with the "To Die Like a Man" helm-er's style should find much pleasure, even if they're perplexed by what it all means.Narratively, the film gets even more bizarre. A Latin-speaking Amazon (performance artist Juliane Elting, whose stage moniker pays fantastic tribute to Julian Eltinge) calls Fernando by the name Anthony, and by the time he meets Jesus' identical twin brother, Thomas, actor Hamy has been replaced by director Rodrigues. Visually, "The Ornithologist" is Rodrigues' most classically shot film, and the first entirely lenses outdoors. Regular collaborator Rui Poças brings out the richness of the forest and river canyon in all its natural splendours, at times almost hinting at a European version of the sylvan spirit of Thai magical realism rather than the lurid spectacle of the director's "The Last Time I Saw Macao." Unsurprisingly given both the title and the director's academic training, avian scenes are lovingly realised and a constant source of wonder.