I went to Lisbon with my mother for the editing of Manoel de Oliveira’s last film, hoping to reconnect with the cinema I grew up with. This new trip to Lisbon is also an inner journey, through the editing rooms of the twenty previous films by Oliveira. As one suitcase closes, others open. White Gloves becomes a film about my own apprenticeship in cinema, about what the director and his editor quietly passed on to me, year after year.
