Question: Which "The Night Watch" inspired literary work was written by Agustina Bessa Luis?
About the article "The Night Watch", section "Cultural legacy".

Candidate passages:
 The work has inspired musical works in both the classical and rock traditions, including the second movement of Gustav Mahler's 7th Symphony and Ayreon's "The Shooting Company of Captain Frans B. Cocq" from "".
 Alexander Korda's 1936 biographical film "Rembrandt" depicts the painting, shown in error in its truncated form, as a failure at its completion, perceived as lampooning its outraged subjects.
 In King Crimson's song "The Night Watch", on its 1974 album "Starless and Bible Black", the lyricist Richard Palmer-James muses on the painting to capture a key period in Dutch history, when, after a long period of “Spanish Wars,” the merchants and other members of the bourgeoisie can turn their lives inward and focus on the tangible results of their lives’ efforts.
The song adopts a number of perspectives, including the primary subjects and the artist himself, and paints a mini-portrait of the emergence of the modern upper-middle class and the consumerist culture.
However, the song presents this portrait with a deft touch, and while not fully approving, is sympathetic in tone.
 In Jean-Luc Godard's 1982 film, "Passion", "The Night Watch" is reenacted with live actors in an opening shot.
Godard explicitly compares his film to Rembrandt's painting, describing them both as "full of holes and badly-filled spaces."
He instructs the viewer not to focus on the overall composition, but to approach his film as one would a Rembrandt and "focus on the faces.
"
 "The Night Watch" is a major plot device in the eponymous 1995-film, Night Watch, which focuses on the painting's theft.
 "The Night Watch" is parodied on the British cover of Terry Pratchett's 2002 book by the same name.
The cover illustrator, Paul Kidby, pays tribute to Rembrandt by placing him in the picture, in the position where Rembrandt is said to have painted himself.
 "The Night Watch" is the subject of a 2007-film by director Peter Greenaway called "Nightwatching", in which the film posits a conspiracy within the musketeer regiment of Frans Banning Cocq and Willem van Ruytenburch, and suggests that Rembrandt may have immortalized a conspiracy theory using subtle allegory in his group portrait of the regiment, subverting what was to have been a highly prestigious commission for both painter and subject.
His 2008 film "Rembrandt's J'Accuse" is a sequel or follow-on, and covers the same idea, using extremely detailed analysis of the compositional elements in the painting; in this Greenaway describes "The Night Watch" as (currently) the fourth most famous painting in the Western world, after the Mona Lisa, the Last Supper and the ceiling of the Sistine Chapel.
 In 2006 "The Night Watch" has inspired the literary work A Ronda da Noite by the famous Portuguese writer Agustina Bessa Luís.
She was awarded the Camões Prize in 2004. 
Francisca is a 1981 Portuguese drama film based on the novel by Agustina Bessa-Luís and directed by Manoel de Oliveira.
The film was selected as the Portuguese entry for the Best Foreign Language Film at the 55th Academy Awards, but was not accepted as a nominee. 
The Convent () is a 1995 film by Portuguese director Manoel de Oliveira, starring Catherine Deneuve and John Malkovich and based on the novel "As Terras Do Risco" by Agustina Bessa-Luís.
It was entered into the 1995 Cannes Film Festival. 
Oliveira's work since the 1990s has been the most prolific of his entire career and he has made at least one film a year (usually feature narratives but sometimes shorts or documentaries) since 1990.
During this period he established and consistently worked with a loyal troupe of regular actors including Luís Miguel Cintra, Leonor Baldaque, Ricardo Trêpa (Oliveira's grandson), Leonor Silveira, Diogo Dória, John Malkovich, Catherine Deneuve and Michel Piccoli.
He would also work with such international stars as Jeanne Moreau, Irene Papas, Bulle Ogier, Chiara Mastroianni, and Marcello Mastroianni in the actor's last film.
In 1990 Oliveira made "No, or the Vain Glory of Command" ("Non, ou a Vã Gloria de Mandar"), starring Luis Miguel Cintra, Diogo Dória and Leonor Silveira.
The film depicts the military history of Portugal, focusing on its defeats more than its victories.
The historical action include the assassination of Viriathus, the Battle of Toro, the Battle of Alcácer Quibir and the more recent Portuguese Colonial War.
The one exception is the sequence that depicts the mythical Isle of Love, which celebrates Portuguese explorers and discoverers, not its military figures.
The Isle of Love includes winged cupids, beautiful nymphs and the goddess Venus.
The film was shown in competition at the 1990 Cannes Film Festival.
Oliveira then made "The Divine Comedy" ("A Divina Comédia") in 1991.
Set in a mental institution, the film is not an adaptation of Dante Alighieri's famous work but is derived from stories in the Bible, José Régio's play "A Salvacao do Mundo", Fyodor Dostoyevsky's "Crime and Punishment" and "The Brothers Karamazov", and Friedrich Nietzsche's "Antichrist".
Oliveira has stated that "all of the texts he uses deal in some way with the problem of sin and the possibility of redemption, and in this sense they all derive ultimately from the same source."
The film stars Maria de Medeiros, Miguel Guilherme, Luís Miguel Cintra, Leonor Silveira and Diogo Dória and was shown in competition at the 1991 Venice Film Festival, where it won the Grand Special Jury Prize award.
Oliveira then returned to the works of Portuguese writer Camilo Castelo Branco with "Day of Despair" ("O Dia do Desespero") in 1992.
The film stars Mário Barroso as Branco, with actors Teresa Madruga, Luís Miguel Cintra and Diogo Dória playing both themselves and Ana Plácido, Freitas Fortuna and Dr. Edmundo Magalhães, respectively.
The film was shot in the same house that Branco lived his final years and committed suicide and is both a documentary and a narrative film about the famous Portuguese writer.
In 1993 Oliveira made "Abraham's Valley" ("Vale Abraão"), based on the novel by Agustina Bessa-Luís.
Oliveira had wanted to film Gustave Flaubert's "Madame Bovary", but was dissuaded by producer Paulo Branco due to budgetary restraints.
Oliveira then suggested to Bessa-Luís that she write an updated version of the novel set in Portugal, which resulted in the novel in 1991.
"Abraham's Valley" is not a retelling of the Flaubert book, however "Madame Bovary" is both a subtext and a physical presence in the film.
The film stars Leonor Silveira as Ema, a discontent Portuguese woman who wants a passionate life like the one she reads about in Flaubert's novel.
Like Madame Bovary, Ema marries a doctor that she does not love and has many extramarital affairs before dying in an accident that may or may not be a suicide.
Unlike Madame Bovary, there is no scandal in her love affairs, which are simply accepted by both her husband and the society that she lives in.
The film won the Critics award at the 1993 São Paulo International Film Festival, as well as an award for Best Artistic Contribution Award at the 1993 Tokyo International Film Festival.
In 1994 Oliveira made "The Box" ("A Caixa"), based on a play by Helder Prista Monteiro.
The film stars Luis Miguel Cintra as a blind homeless man whose only means of support in a poor neighborhood in Lisbon is his official, government issued alms box.
It was screened in competition at the 1994 Tokyo International Film Festival.
In 1995 Oliveira's reputation had grown and his films were internationally acclaimed.
That year he made his first of many films starring international movie stars: "The Convent" ("O Convento"), starring John Malkovich and Catherine Deneuve.
The film is based on the novel "As Terras Do Risco" by Agustina Bessa-Luís and examines the Faustian theme of good versus evil.
In the film Malkovich plays an American writer who travels to Portugal with his wife (Deneuve) to research his theory that William Shakespeare was really Jacques Perez, a Jewish Spaniard who fled his native country to avoid the Spanish Inquisition.
The couple stay in a monastery a with strange, demonic- looking staff and they eventually end up having affairs with two staff members.
The film was screened in competition at the 1995 Cannes Film Festival and won the Prize of the Catalan Screenwriter's Critic and Writer's Association at the 1995 Sitges - Catalonian International Film Festival.
In 1996 Oliveira worked with French star Michel Piccoli and Greek film star Irene Papas in "Party".
The film was co-written by Oliveira and Agustina Bessa-Luís from an original idea by Oliveira.
In the film, a married couple played by Leonor Silveira and Rogério Samora have a dinner party that includes a famous Greek actress (Papas) and her lover (Piccoli) and the film consists of conversations between these four characters at parties over the course of five years.
The film was screened in competition at the 1996 Venice Film Festival and won Oliveira the award for Best Director at the 1996 Portuguese Golden Globe Awards.
In 1997 Oliveira made "Voyage to the Beginning of the World" ("Viagem ao Princípio do Mundo"), which was the final film of Italian film star Marcello Mastroianni.
In the film Mastroianni plays an aging film director named Manoel who travels on a road trip across Northern Portugal with French film actor Afonso (Jean-Yves Gautier) and two other young companions, Judite (Leonor Silveira) and Duarte (Diogo Dória).
Afonso wants to see the Portuguese village that his father grew up in and see the relatives that he has never met.
On the way, Manoel stops at several locations on the road that he remembers from his childhood, only to find them much different than he had remembered.
The film is autobiographical in that the locations on the road are real locations from Oliveira's childhood.
The film is also based on the experiences of actor Yves Afonso, whose father had immigrated from Portugal to France and who had met his long lost relatives during a French-Portuguese co-production in 1987.
The film was screened out of competition at the 1997 Cannes Film Festival and won the FIPRESCI Prize and a Special Mention from the Ecumenical Jury.
It won other awards at the 1997 Haifa International Film Festival and the 1997 Tokyo International Film Festival.
Oliveira then made "Anxiety" ("Inquietude") in 1998.
The episodic film contains three short films based on literary works by Helder Prista Monteiro ("Os Immortais"), António Patrício ("Suzy") and Agustina Bessa-Luís ("Mãe de Um Rio").
In "Os Immortais" a 90-year-old man (José Pinto) concludes that old age is horrible and attempts to convince his middle aged son (Luís Miguel Cintra) to commit suicide.
In "Suzy", an aristocrat (Diogo Dória) has an affair with a beautiful young cocotte (Leonor Silveira), but social class differences prevent him from having a deep, meaningful relationship with her.
In "Mãe de Um Rio", Leonor Baldaque plays a discontent small town girl who yearns for a more exotic life and seek advice from the Mother of the River (Irene Papas).
The film won Oliveira another award for Best Director at the 1998 Portuguese Golden Globe Awards.
In 1999 Oliveira made "The Letter" ("La Lettre"), based on the 17th century French novel "The Princess of Cleves" by Madame de Lafayette.
Oliveira had wanted to make a film from the novel since the late 1970s, but had initially thought that it was too complicated to be filmed.
The film updates the novel to modern day and stars Chiara Mastroianni as Catherine de Clèves, Antoine Chappey as the husband that she does not love, Leonor Silveira as her childhood friend who has become a nun and her confidant, and Portuguese rock star Pedro Abrunhosa playing himself in the role of the dashing Duke of Nemours, whom Catherine is in love with.
Abrunhosa also wrote some original songs for the film.
The film won the Grand Jury Prize at the 1999 Cannes Film Festival.
In 2000 Oliveira made the film "Word and Utopia" ("Palavra e Utopia"), a biography of the Portuguese Jesuit priest Padre António Vieira based upon letters and sermons that the priest wrote between 1626 and 1695.
Vieira is played by Oliveira's grandson Ricardo Trêpa as a young man, Luis Miguel Cintra in middle age and Lima Duarte as an old man.
The film chronicles Vieira's missionary work in South America, testimony before the Spanish Inquisition and work as a trusted advisor to Queen Christina of Sweden (Leonor Silveira).
The film was shown in competition at the 2000 Venice Film Festival, where it won the Film critica "Bastone Bianco" Award.
It also won Oliveira his third award for Best Director at the 2000 Portuguese Golden Globe Awards.
In 2001 Oliveira made two feature films at the age of 92.
"I'm Going Home" ("Je rentre à la maison") stars Michel Piccoli as Gilbert Valence, an aging stage actor that never achieved great success who deals with the sudden deaths of his wife, daughter and son-in-law after a car accident, turning down undignified roles in commercial TV shows and raising his 9-year-old grandson.
Catherine Deneuve, John Malkovich, Antoine Chappey, Leonor Baldaque, Leonor Silveira and Ricardo Trêpa also co-star.
The film was shown in competition at the 2001 Cannes Film Festival, won awards at the Haifa International Film Festival and the São Paulo International Film Festival, and won the award for Best Film at the 2001 Portuguese Golden Globe Awards.
Later that year Oliveira made the autibiographical, partially documentary film "Porto of My Childhood" ("Porto da Minha Infância").
The film includes archival footage of "Douro, Faina Fluvial" and "Aniki-Bóbó", reenactments of parts of Oliveira's childhood and documentary footage of Porto in the early 20th Century.
Oliveira's grandsons Jorge Trêpa and Ricardo Trêpa portray Oliveira at different ages of his life.
The film was screened in competition at the 2001 Venice Film Festival, where it won the UNESCO Award.
Oliveira made "The Uncertainty Principle" ("O Princípio da Incerteza") in 2002.
The film is based on the 2001 novel "O Princípio da Incerteza:Joia de Familia" by Agustina Bessa-Luís, which won the Grand Prize from the Portuguese Writer's Association.
In the film, Leonor Baldaque plays Camila, who marries a man (Ivo Canelas) to help alleviate her family's financial difficulties instead of her boyfriend (Ricardo Trêpa).
Camila's husband begins an affair with Vanessa (Leonor Silveira), which Camila is indifferent about.
This infuriates Vanessa who proceeds to do everything she can to make Camila suffer.
In then end Vanessa and Camila's husband become involved with an illegal deal with some gangsters, which Camila refuses to help them with.
The film was screened in competition at the 2002 Cannes Film Festival.
This was followed by "A Talking Picture" ("Um Filme Falado"), starring Leonor Silveira, Filipa de Almeida, Catherine Deneuve, John Malkovich, Irene Papas and Stefania Sandrelli in 2003.
In the film Silveira takes her young daughter (Almeida) on a cruise to Bombay to meet her father's family and teaches her about the history of the places that they pass through along the way.
These sights include such places as Ceuta, Marseilles, Athens, Naples and Pompeii.
They also meet and learn about three successful women (Deneuve, Papas and Sandrelli) from certain location and have long conversations with the ship's captain (Malkovich), often dealing with the conflicts between Christianity and Islam.
The film was screened in competition at the 2003 Venice Film festival, where it won the SIGNIS Award.
In 2004 Oliveira made "The Fifth Empire" ("O Quinto Império - Ontem Como Hoje"), a highly political film based on the play "El-Rey Sebastiao" by José Régio.
The film chronicles the history of King Sebastian I of Portugal, and at a screening at the 2004 Venice Film Festival Oliveira acknowledged that US President George W. Bush had "a "Sebastianist" inclination in his expressed desire to spread democracy and freedom around the globe in his own version of the Fifth Empire."
In the film King Sebastain (Ricardo Trêpa) contemplates pursuing his crusade in the Middle East that would lead to the Battle of Alcácer Quibir (where he would eventually die) and the counsel that he seeks from a variety of advisors, friends and family members.
The film portrays King Sebastian as obsessed with his place in history and with his own myth of himself, while creating violent situations all around him.
The film was screened at Venice out of competition as part of Oliveira's Career Golden Lion award.
Oliveira followed this film with "Magic Mirror" ("Espelho Mágico") in 2005.
Based on the novel "A Alma dos Ricos" by Agustina Bessa-Luís, the film stars Leonor Silveira, Ricardo Trêpa, Luís Miguel Cintra, Leonor Baldaque and Michel Piccoli in a cameo, but was produced by José Miguel Cadilhe instead of Paulo Branco.
In the film, Silveira plays a wealthy woman who is determined to see a real apparition of the Virgin Mary with the help of Trêpa, who has recently been released from prison.
In 2006 Oliveira made "Belle Toujours", a sequel to Luis Buñuel's 1967 film, "Belle de Jour".
The film stars Bulle Ogier as Séverine Serizy and Michel Piccoli reprising his original role of Henri Husson.
In the film, Séverine reluctantly agrees to see Henri for the first time in forty years out of curiosity to know if her former blackmailer told her dying husband about her secret life as a prostitute.
Ricardo Trêpa and Leonor Baldaque also appear in supporting roles.
Oliveira's 2007 film "Christopher Columbus - The Enigma" ("Cristóvão Colombo - O Enigma") was shot partly in New York and starred Ricardo Trêpa.
In 2009 Oliveira made "Eccentricities of a Blonde-haired Girl" ("Singularidades de uma Rapariga Loura"), based on a short story by Eça de Queirós.
The film starred Ricardo Trêpa and Catarina Wallenstein, who won Best Actress at the 2009 Portuguese Golden Globe Awards.
Oliveira's 2010 film "The Strange Case of Angelica" starred Spanish actress Pilar López de Ayala and was entered into the Un Certain Regard section of the 2010 Cannes Film Festival.
Oliveira's latest film, "Gebo and the Shadow", was released in 2012 and premiered at the 69th Venice International Film Festival.
The film stars Michael Lonsdale, Jeanne Moreau, Claudia Cardinale, Leonor Silveira, Ricardo Trêpa and Luís Miguel Cintra and is based on the play "The Hunchback and His Shadow" by Raul Brandão.
Manoel de Oliveira has said that he directs movies for the sheer pleasure of it, regardless of critical reaction.
He maintains a quiet life away from the spotlights.