To ensomme sjæle møder hinanden, Rui og Odete. Rui har mistet sin elskede Pedro om natten på deres årsdag. Odete er oprørt, fordi hendes kæreste har forladt hende, efter hun sagde, hun gerne vil have et barn. Odete bliver besat af den bortgangne Pedro, som hun aldrig har mødt.
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It is always a surprise when you fall in love with a movie. At Pedro's tomb Odette says "I've come to meet you. Now, nobody will set us apart." Rui says "I can't get myself here. It frightens me." Later Odette says to Rui "Let him come back." Kangaroo by Alex Chilton was perfect for the car driving scene and the repeated piano refrain by Filipe Raposo was great. Cinematography by Rui Poças fantastic. Thank you João.
Another one I regret not watching sooner. I wish I did so I could get this review in. This is a weird movie in all the right ways. I won't get into any synopsis stuff but the opening of this set the tone really well. Get this in when you can.
Great film from Rodrigues that transcends gender and sexual identity in telling a story about a woman who becomes obsessed with passing herself off as a dead man's pregnant girlfriend despite the fact that he was in a homosexual relationship and that hers is a hysterical pregnancy (!). Frankly sexual but expertly told drama with just a hint of the danger of his previous work (O Fantasma). Highly recommended.
A filmmaker throwing an absolutely wild pitch w/ everything behind it. Nowhere near the plate. Yes. This is an attempt at unalloyed, bombastic melodrama. It's not short on balls. But it is awkward in gait and generally ham-fisted. Owes a lot to New Queer Cinema of the 90s. Owes a lot to Almodóvar and, weirdly, sorta, Gregg Araki. Choral version of "Smells Like Teen Spirit" is where I really started losing patience.
My grandma used to attend funerals of people she didn't know. She was a little obsessed with death. She was always sure she was going to die. That isn't this woman's problem. She inserts herself into the life of the family, because she wants to feel a connection.