Three ordinary suburban friends, Hilda, Matilda and Gaspar, meet up one weekend in a tiny, not exactly chic downtown apartment to gossip, drink and take break from an otherwise mediocre daily grind. The three friends, in spite of their exceptional intelligence and sensivity are all short on cash, and let their imaginations soar. Unaware of what's happening to them, they decide to live another life, a freer life, to exchange personalities for awhile and live outside of themselves.
Cannes IFF 2003
The mood in Filme de amor is slightly disorderly and waywardly theatrical. The characters are aware of the boredom that has to be driven out and play their ironic, erotic game in the timeless and listless atmosphere.
In the late sixties, the filmmaker Bressane broke through the calm within the unanimously socially critical Brazilian Cinema Novo, with films that were both personal and avant-garde. He was almost the only one of his generation able to remain faithful to his ideas about cinema.
Rotterdam IFF 2004
Júlio Bressane, born in 1946 in Rio de Janeiro, started his film carrer as assistant director to Walter Lima Jr. on the film Meninho de Engenho. He made his first full-lenght feature, Cara a cara in 1967. Bressane's films are among the most exemplary of Brazilian experimental films, concentrating especially on the relationship between picture and soundtrack. A showing of his films has also given him renown at international festivals, such as Porto, Rotterdam, Syracuse, Paris and Toulouse.
1967 Cara a Cara / Face to Face
1969 Matou a Família e Foi ao Cinema / Killed the Family and Went to the Movies
1969 O Anjo Nasceu / The Angel Was Born
1971 Amor Luoco / Crazy Love
1995 O Mandarim / The Mandarin
2001 Nietzsche w Turynie / Dias de Nietzsche Em Turim / Days of Nietzche in Turin
2003 Filme de Amor / A Love Movie