Reviews (1)
Cinema novo (certainly also due to the fact that it was influenced by its European models, while Europe already had its burned-out bourgeoisie) embarked on a critique of the alienation of the average well-off person, who seemingly lacks nothing, at the same time as it arose in Brazil (although poverty still persists in Brazil and not everyone lives like the main hero). It is something akin to European critical realism in the 19th century, but with a camera and not so much realism, because the film relies on unconventional (although not particularly experimental, it must be noted) narrative work. Aside from the 1960s motif of bitterness in the protagonist's class, and youthful resistance to the necessity of assimilating into a society that he disdains, it is most interesting to observe how, due to the synchronous narration of the three types of relationships with three women, the main character never escapes his bitterness from the beginning of the film (it is not gradually built up) and how every apparent calming and fulfillment of a relationship is just a false interlude between various failures, an interlude that the viewer always learns has already occurred and the present belongs only to dissatisfied emptiness. The present - as well as the ending... yet the most interesting thing is to observe the camera work of Ricardo Aronovich. Just take a look at who he filmed for in later years.
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