I enjoyed this film very much – just the right antidote to miserable weather on a Sunday. As one of the blurbs reads, you wouldn’t expect a story that begins with a character suffering a form of depression to end up as light and entertaining – but this does. Julia is an English Literature Professor in Rio de Janeiro. The film begins with some chaotic video clips of her tour of the UK, only to then reveal that her partner Antonia has left her. Julia is finding it hard to function at work but is rescued by Hugo whose civil partner Pedro has died. Hugo is an irrepressible character who proposes to buy a new house by the sea and invites Julia and another friend, Lisa (also separated from a partner) to share it. As you might expect, several visitors to the house provide diversions from too much introspection and, in particular, Helena challenges Julia to re-engage with the world.
So Hard to Forget is witty, beautifully acted and nicely presented with a pleasing eye for visual details by director Malu de Martino from a book by Miriam Campello. Despite having several collaborators the script seems to work fine. As Julia, Ana Paula Arósio has the intensity and presence of an actor like Rachel Weisz, who I think she resembles in some ways. Known mostly for her television work in Brazil, she handles this lead role well, portraying a woman who is brilliant but harsh with other people.
The film is currently in the UK on a limited release by Peccadillo Pictures, the LGBT specialists who will give it a UK DVD release in 2012, but it should be on general release as I’m sure it appeals to gay and straight audiences alike. With its references to both Emily Bronte and Virginia Wolf (either of whom might have influenced Julia’s coiffure) and then Sarah Waters and k.d. lang, I’m not sure what this says about Brazilian society, except that one part of it embraces globalised Anglo culture.
In the Peccadillo Pictures Press Notes Malu de Martino has this to say about her choice of subject matter:
“In recent years, Brazilian movies have increasingly dealt with social issues as a vehicle to gain a better understanding of our reality. Films dealing with personal dramas, on the other hand, have been relegated to an inferior category due to the distressful social conditions which countries like Brazil experience.”
I think that this is a good point. It had occurred to me that the film didn’t look ‘Brazilian’ – in fact it looked and felt more like some of the independent films I’d seen from Argentina. That’s probably my ignorance, but de Martino has certainly made a useful challenge to any preconceptions about Brazilian films seen overseas.
Trailer (with English subs):