Dir.: Pedro Diógenes & Guto Parente
Inferninho is a suburban bar that serves as refuge for people who aren’t welcome anywhere else; except for its owner, Deusimar, who dreams of leaving everything behind and travel around the world. So, through her point of view, we never leave the inside of the bar, which builds up a claustrofobic atmosphere that only intensifies when the conflicts between the wishes and necessities of the characters begin to collide.
It’s hard to talk about the movies themes without entering spoiler territory, but it suffices to say that it deals with a lot of antithesis: Home x Exile; Freedom x Deprivation; Love x Sexual objectification; Companionship x Fellowship; and it does so with no fear to depict and affirm its identity — despite never telling us in what time and place Inferninho exists.
And maybe that’s the central question. It doesn’t matter in what point you’re at on the spacetime, if it’s that place, or person, or people, that you can call home. These are simple folks… dealing with extremely complex matters.
The film uses narrative elements typical of theater in a well executed manner. Which shouldn’t come as a surprise once you know its stars hail from the renowned Grupo Bagaceira de Teatro, 20 years in activity. Highlights for the acting of Rafael Martins as the Bunny, and the emotional spiral that is Deusimar, brought to life by Yuri Yamamoto. Not to mention the soundtrack, very dialogical with the text.
Fantastic on a technical level, this is a movie as contemplative as it is visceral, where sound and image guide the feelings without ever surrender to boredom. No shot, scene or line is without purpose. It is a short feature, for it has the time it needs. It is its own lifetime. And nothing is thrown away.
It’s your life, Deusimar. Don’t throw it away. 🦉🐋
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