I am somewhat disillusioned with this film. Although it was equipped with a great aesthetic sense and a visceral script, its success was compromised by Alessandra Negrini's low dramaturgical performance.
Once more, Bressane represents a cinema that was already dead, if we except Manoel de Oliveira, in different ways: the silent and primitive cinema, its spells and rites, theatre and artisanal magic. And once again, like in “Educação Sentimental” (2013), Maya Deren is somewhere, somehow, in it.
Let's begin with the giant white elephant in the room: what starts as a promising character study soon unravels to be one of the most embarrassing acting choices from contemporary brazilian cinema. Negrini and Mello just do not stand such a poetic plot - they puke words empty of meaning and soul. They should stick with soap opera, the place they belong to. We try to focus on Bressane's beautiful scenes, but how?
O cinema brasileiro tem sempre algo de mais verdadeiro e de surrealismo cru mas protector, é quase uma maquilhagem nata sem a qual não se reconhece. Se pudesse escolher uma cena que melhor resumisse esta ideia, seria o diálogo inicial. Cada vez mais se revela como um dos meus cinemas favoritos. Selton Mello é simplesmente um actor brilhante.