Brazilian filmmaker Vera Egito on her lesbian storyline in “Restless Love”

on

Being half Brazilian, I grew up watching a lot of telenovelas and the occasional Brazilian movie. Today, I spend more time watching foreign films than I do watching daily soaps, so it was a really nice change a pace to watch a movie I didn’t need subtitles for (but don’t worry, it has them!). Restless Love is a fun film that follows three friends and their chaotic lives in São Paulo. One of those friends is Mica (Renata Gaspar), who’s in a relationship with Duda, (Ana Cañas) a closeted actress.

Restless Love is Vera Egito’s first feature film as a writer-director. We recently spoke with her about her real-life inspirations for the film, criticism that her movie isn’t Brazilian enough, the issue of closeted actors in Brazil and more.

restless love poster

Warning: Spoilers ahead

AfterEllen.com: What was at the base of your interest in making a movie centered around three friends? Especially a lesbian, a gay man and a straight woman.

Vera Egito: Restless Love is a lot about my life and the lives of my friends. I mean, not literally. I used to say it’s a “self-fiction” because it’s really inspired on us. Some people actually from cinema–not like personal friends–they asked me, “You have so many gay friends. Why?” And I said, “I don’t know. I have them.” So this is basically my life. The only answer is Mica and Duda and Diego (Thiago Pethit), they were inspired by people I know and people that are very close to me. Honestly, to me, I don’t see a gay love story. To me, a love story is a love story.

Restless Love is my life. I know those people. I know the way they dress up. I know the way they talk. I know the places they live. It’s me. It’s so natural. On the other hand, the challenge was being loyal to this generation, to this group. Because the film is a kind of portrait of a generation that is living in big cities nowadays, so I had to be loyal to them. To us. I guess we did it because the answers from the audiences are being very positive.

 

AE: How important is São Paulo to the soul of this film? I think audiences, especially outside of Brazil, will appreciate seeing a world that isn’t Rio de Janeiro or rural Brazil.

VE: I don’t know if it’s that good. I took some not very good answers from some festivals because they told me the film is not the Brazil they would like to show, or it’s not the Brazil they were expecting.

 

AE: And what Brazil were they expecting? The same Brazil we always see?

VE: Yes, probably. In a festival, my film wouldn’t represent Brazil. I heard from some people in the industry like, “Oh, but this story could be in London.” I said, “Yes, but it’s not.” So there is no Latin American, I don’t know, color. Well, of course, I don’t agree with that because Brazil is everything. Of course, it’s rural too; it’s Rio too. But it’s also São Paulo.

It’s very important. I was born and raised here. Of course, it’s a crazy city–there’s a lot of chaos and violence and a lot of bad things. But at the same time, it’s a free city. You are allowed to be whatever you want to be here. I learned that from my teenage years. You can choose the group you want to belong to: in music, in lifestyle–of course, in your love life. Nothing is weird here. And I think the film is the way it is because of São Paulo, because of this sense that you can act the way you believe is the right way.

Restless Love

More you may like