Ana Carolina's feature film debut offers a broad, joky, Buñuelian brand of surrealism, including a do-it-yourself surrealist practical joke that calls for a razor blade to be inserted below the surface of a bar of soap. Norma Bengell, the lead actress, and one of the leading actresses in two decades of Brazilian cinema, delivers a deliciously ironic enunciation of her character's name here, "Felicidad," when she is required to introduce herself to a loony dentist near the end of a long, hard day, in the course of which she has slashed her husband with a razor blade and left him for dead, been stabbed in the neck herself with a hat-pin and then had her dress set afire by her beastly little daughter, and finally been knocked down by a bus. More in that line of experiences comes along before the day is done. The novice director, a classical musician by training, does some extremely irritating but artfully cacophonous orchestration of voices in bringing the cantankerous script to life. (1979) — Duncan Shepherd
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