Amores

Luiza (Clarice Niskier) is a comedian, presenting shows in a bar. Her sister is Telma (Priscilla Rozembaum), married and in love with Pedro (Ricardo Kosovski), a high-level employee from the municipal government and best friend of Vieira (Domingos Oliveira). Vieira is an intellectual, fan of Dostoevski and working in the biggest Brazilian television company. He lived with a French woman for three years and raised their daughter Cíntia alone, with the support of Telma. Cíntia (Maria Mariana) is a reckless and impulsive twenty-two years old journalist, just ending the relationship with a nineteen years old rookie actor. The story begins with the new love of Luiza, Rafael (Vincent Barcellos), a bisexual painter, being presented to Telma and Pedro; the problem of relationship between Vieira and Cíntia; and a crush of Cíntia in Pedro. Themes related to relationship, love, marriage, birth, deception, frustration, betrayal, forgiveness, sexuality, homosexuality, AIDS, all these subjects are discussed in different perspective, sometimes funny, other sad, in this lovely movie. The actors and actresses give an outstanding performance. A mandatory high-level entertainment that proves again that a low-budget movie can be excellent, depending on the screenplay, direction and cast. My vote is nine.

Title (Brazil): `Amores' (`Loves')

Domingos de Oliveira is a master of dialogs. He is a kind of Brazilian Woody Allen, with a theater-like atmosphere. This film has very nice moments, dealing with various relationships, loves, frustrations. However, the smart beginning is much better than the tepid end, and some political problems also bother: the dated stereotype on homossexuality, the fierce neo-liberal speech against public service, and perhaps also against taxes.

AMORES has been described by Braziian critics as a "Woody Allen"-like dramatic comedy, made in Brazil. Written, directed and starring Domingos de Oliveira, with his real-life (though not in this film) wife, Priscilla Rozenbaum, the movie's emphasis on psycho-analysis among the main characters, depiction of marital infidelity, and dysfunctional relationship with a teenage daughter clearly show similarities. The addition of the de rigueur 90's character: the nice HIV-positive, gay/bisexual guy, and his relationship with a "girl" friend looking for love reinforces the parallels. But all in all, it is a very Brazilian film. True, Rio and New York are comparable as huge world metropolises. But the comparison pretty much stops there. The sensuality of the former Brazilian capital permeates the not so original screenplay, and adds unique twists to the movie. This comes through in spite of the fact that the movie was shot mostly in interior locations. The theatrical feeling is not unusual, since De Oliveira and Rozenbaum are among Rio's most acclaimed and ubiquitous theater stars. Their chemistry as best friends in AMORES is another welcome addition to the film, and their performances are ultimately the best reasons to see AMORES