Odete works in a hypermarket in Lisbon. She dreams of having a child with her boyfriend, Alberto, who works in the same hypermarket as a night watchman. But when Odete tells him about her desire for a child, Alberto runs away. Left alone, Odete becomes obsessed with her dream. Two youths, Pedro and Rui, are kissing outside a bar. They have been together for a year now and exchange engagement rings and oaths of love. Pedro goes home by car and Rui returns to the bar where he works at night. A few streets away, and a few minutes later, Pedro has a car accident. He dies in the arms of Rui, who comes running to help him. Rui, forlorn and hopeless, loses the desire to live. But the love between Pedro and Rui is eternal. Strangely, their destiny will meet that of Odete, who is summoned by Pedro’s ghost. —Quinzaine des Réalisateurs
João Pedro Rodrigues was born in Lisbon in 1966. After studying biology at Lisbon University he attended the Lisbon Film School, where he obtained his diploma. His public film career began at the 54th Venice Festival in 1997 with the short Parabéns!, which won the Special Jury Prize. In the same year he made Esta é a minha casa and Viagem à Expo, a two-part documentary. In 2000 he directed his first fiction feature, O Fantasma, which was screened in the 57th Venice Festival’s Official Competition. In 2005, Odete won several awards including a Cinémas de Recherche Special Mention at the Directors’ Fortnight in Cannes. His feature project To Die Like a Man was selected in 2007 by Cinéfondation for L’Atelier in Cannes and was released in 2009. –Locarno Film Festival
Una extraña relación se está formando entre Odete y Rui, una que se construye a través de una alucinación fantasmagórica o un simple estado de pena producto de la obsesión de Odete por tener un hijo y la agonía de Rui por olvidar a un amor perdido. Pedro será constructor de esta dicha conexión, pero no como significado real, sino más bien manifestado de forma simbólica, sea por un anillo o una foto.
I started the film already somewhat annoyed, expecting yet another film about a gay man falling for a woman but ended it succumbing to the bizarre logic of the film whose acceptable conclusion is that mad last scene (can't spoil it!). With a lot less manic display than Almodovar and a lot more authentic strangeness, Rodrigues pulls it off. I can't say I loved it but definitely respect!
Depois de ler e discutir este filme, fiquei menos frustrado. Mas há que dizer que não é um filme muito fácil de se gostar. A parte mais brilhante do filme será talvez a interpretação de Ana Cristina de Oliveira que me impressionou bastante. Mas nem ela consegue superar os defeitos dum argumento que parece muitas vezes forçado e artificial.