Odete (2005) aka Two Drifters
Bio jednom jedan Pedro koji je izgleda bio strašan jebač. Izjebao dosta cura ali i muškaraca.
Nesretni Rui se zaljubio u njega ko da je tinejdžer. I na samom početku filma se učini kao da se radi o jednoj savršenoj romansi.
Al na moje iznenađenje Pedro pogine u saobraćajnoj nesreći. Film tek počeo, a ja u šoku.
Onda ide sahrana, plač. jad i tuga. Porodica , Rui, Odete, Pedrova majka…
Odete već u početku filma pokazuje ludački nagon da postane majka, tako da je jednom prilikom svog zgodnog vjerenika izbacila iz stana jer je nije htio izjebati bez kondoma. Oće ona pošto – poto da zatrudni. Lijepo možete viđeti malog kako prvo go piša, pa mu ona prilazi od pozadi i kaže da ne pije tablete protiv trudnoće. On šokiran oće da je jebe, al neće djecu. Ona poludi pa ga izudara i onako golog ( ima dobru kitu ) izbaci iz kuće.
Onda do kraja filma prikazuju koliko je riba pukla. Ide na Pedrov grob, danju noću, gura kolica ko da je u njih beba, liježe na grob okružena svjećama….- Nema psihijatra koji joj može pomoći.
A Rui ide po gay diskotekama, parkovima, saunama i pederskim mjestima nebi li na Pedra zaboravio jebavajući se sa raznim likovima. Valjda ako primi više kuraca, brže će Pedro da ode u zaborav.
I na kraju filma ova Odete se obuće u Pedrovu garderobu i onako ko da je muško izjebe Rui-ja koji se sve uzdisao:”JEBI ME PEDRO”
E da ne zaboravim, film završava uz pjesmu Moon River od Pletersa.
Director: Joăo Pedro Rodrigues
Writers: Paulo Rebelo (writer)
Joăo Pedro Rodrigues (writer)
Runtime: Brazil:101 min | USA:98 min
Country: Portugal
Language: Portuguese
Genre: Drama
Two Drifters (2005)
June 23, 2006
A Love Triangle Like No Other in ‘Two Drifters’
By NATHAN LEE
Published: June 23, 2006
A bittersweet joke in the art-house scene has it that if the brainiest, least compromised of foreign filmmakers would only make a movie about adorable homosexuals, they’d get a distribution deal. It worked for the Thai director Apichatpong Weerasethakul, whose gay-themed “Tropical Malady” was the first of his avant-garde features to get a theatrical release. And it appears to be working for Joăo Pedro Rodrigues, a clever Portuguese filmmaker who makes odd, cerebral films about hot, sexed-up guys.
“O Fantasma,” Mr. Rodrigues’s 2002 debut feature, joined hard-core formalism to explicit naughtiness in the oneric adventures of a libidinal garbage man. But its deeper excitement was to function as a metaphorical graph of eroticism itself, a diagram of its interior structures and transgressive dynamics.
Less dirty but even more perverse, Mr. Rodrigues’s new movie, “Two Drifters,” is another head trip through the landscape of desire. Generically it is a melodrama, albeit of a strange sort capable of accommodating pastiche, parody, hysterical pregnancy and the transmigration of souls. Rich in ambiguity, it unequivocally confirms the arrival as a major and audacious new talent.
Nuno Gil stars as Rui, a young hunk with broad features who is introduced kissing Pedro (Joăo Carreira), his button-cute boyfriend, on their first anniversary. They exchange rings inscribed with the words “two drifters,” a lyric from “Moon River,” which plays on the car radio. A minute later Pedro drives off into a fatal accident, and “Two Drifters” evolves into the story of how Rui confronts his grief vis-ŕ vis a supermarket cashier on roller skates.
Her name is Odete, and she is brought to life — multiple, irrational lives — by the feral, enigmatic actress Ana Cristina de Oliveira. Odete is Pedro’s neighbor, and has lately been squabbling with her boyfriend about having a baby. She’s about to get her dream: the kind you wake up from unclear if it was meant as comedy, tragedy, satire or farce, and finally put together as a paradox containing them all.
Abandoned by her boyfriend, Odete is mysteriously drawn to Pedro’s death, attending his funeral, lingering at his grave and insinuating herself into Rui’s broken life. He is baffled by Odete, and then rattled to the bones when she shows up pregnant claiming the dead boy as the father.
Later a doctor will diagnose hysterical pregnancy, at which point Odete returns to her normal shape and is possessed by the spirit of Pedro to reunite with Rui. Or maybe she’s a complete nut case.
The feat of “Two Drifters” is to advance a contradiction — Odete is overtaken by madness; Odete is overtaken by Pedro — and refuse to resolve it, spinning the two possibilities around the axis of Rui’s sadness. Neither sentimental nor cruel, yet touching and trenchant, the movie sustains a profound ambivalence right up to the final shot. With a doozy of a provocation — a happy ending like no other — Mr. Rodrigues explains nothing while clarifying what’s really at stake here: grappling with loss, transcending through love.
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