A still life is interrupted by Pope Gregory XV stuffing a plastic skull with carnations. Verdant landscapes are prowled by monks in ghillie suits. The raucous annual assembly of women’s immortal souls debates the destruction of a suggestive painting, Josefa d’Obidos’s “Holy Family,” secreted away in a male-only Carmelite monastery in a mountaintop of Buçaco. With an irreverent wit, Catarina Vasconcelos stages a droll iconoclasm.
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