Didactic love story, heavier on the "didactic" than on either the "love" or the "story." A real-life situation, of two lost souls colliding on the rebound from romantic break-ups, is discernible, but just barely, beneath all the psychodrama, the socio-sexual polemics, and the nonlinear narrative technique. Most of the action is confined to the hero's avant-garde apartment, complete with 1,200 surplus boxes of "Moldex" brassieres, multiple video screens, "environmental sculpture," a male mannequin, a dish-shaped bed with a sort of scraggly, macramé canopy, and a solid wall of windows giving onto a postcard view of Sugarloaf Mountain. A very photogenic hideaway, this, and director Arnaldo Jabor's use of it is visually quite inventive, although almost as often visually crackpot. Among the ideas that ought to have been discarded as useless or used-up are: body-painting (followed by rolling around on blank canvas) as an expression of sexual abandonment; a pistol fired into a mirror; and the Fellini-esque song-and-dance finale. With Sonia Braga and Paulo Cesar Pereio. (1981) — Duncan Shepherd
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