The boy apparently usually lives with his grandmother, not Anna. Anna appears and embraces her son, commenting on how much more like a man he now is than he was the last time she saw him a year ago. The manager seems shocked by the idea of the boy staying with his mother, but it isn't immediately clear why. The grandmother is on her way back to Santa Catarina, Brazil. She questions the boy who says that his grandmother left him there to stay with his mother. The boy is escorted off to a side room by the manager. Meanwhile, many women in the house are hard at work preparing for what appears to be an important upcoming event, cleaning and arranging flowers. After being told about the letter for Anna, the boy's mother, the manager dispatches the first woman to find Anna. The older man, who appears to have traveled back in time to observe, watches them although they apparently can't see him.Īfter they enter the house, another woman who appears to be serving as a business manager greets them. The younger woman escorts the boy into the house. His grandmother, who has continued to watch discreetly from a distance, leaves the area once she knows he has been admitted. He gives her the letter, saying it is for his mother, and she lets him in. The gate is locked but a woman greets the boy. They came near the gate of the same mansion the older man visited 45 years later, and the grandmother leaves the boy there. The older woman produces a letter and asks the boy to give it to his mother. The scene shifts to some 45 years earlier where a twelve year old boy is being escorted on foot from a train station by his grandmother. It is apparently abandoned with empty rooms but has an aura of past opulence. He is alone as he starts wandering through the rooms of the mansion. Plot Īn older man wearing a business suit is dropped off at a mansion by his driver. Fischer won the Best Actress Award at the 15th Festival de Brasília as well as the Air France Award. The film stars Vera Fischer, Tarcísio Meira, Xuxa Meneghel, and Matilde Mastrangi. Taking each segment separatedly, these would be the rates:ġst: As gazelas (Gazelles), directed by Luiz Castellini - Rate4Ģnd: O prazer da virtude (Pleasure of virtue), directed by David Cardoso - Rate5ģrd: O Gafanhoto (The cricket), directed by John Doo - Rate7.Love Strange Love ( Portuguese: Amor Estranho Amor) is a 1982 Brazilian erotic crime drama film written and directed by Walter Hugo Khouri. However, it has watchable sofcore scenes throughout it, certainly including the silly first segment. Considering full film with all the three segments, it is a very irregular production from Boca do Lixo, becoming better as it advances. Pace is not always the best, but that home situation is near surreal, the supernatural element is quite nice, and the horror end is the best of all in the whole movie. Things become much more interesting, innovative, artistic, and bizarre in the last segment, "The cricket", directed by John Doo. The second segment is not good either, but is at least more sophisticated (and weird): until the (not that innovative) intentions be unveiled, there is kind of a suspense interwined with naked bodies. The feature film is divided in three independent segments, and the first and worst of them has a script that seriously is identical to the plots of generic pornographic productions. However, the so direct, explicit and unimaginative title of this one was not an exaggeration, at least for the first segment. Brazilian 70's-to-80's sexploitation comedy subgenre called Pornochanchada used to have films with titles that were even more exploiting than the movies themselves.
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