Angie, a young Brazilian artist, abandons her old life and embarks on a journey around the country. Running from her past, and searching for her foundation in life, Angie finds not only herself but love in its many forms.
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The Brazilian painter Angie left her mother Glória and her sister Sônia to seek out her father, who left her family when she was a child, in the United States of America. Angie wanders and camps in a tent and works as waitress in diners to raise some money. She befriends the homeless Chuck that protects her while she is camping. When she decides to move to another place, she stops at the roadside to sleep. She is awaken by the highway police officer David and she finds that her engine has an expensive problem. David offers a job to Angie with his cousin Jill and to lodges her in his trailer. Soon they have a love affair but Angie does not want a commitment with David. She leaves him but soon she makes discoveries that will change her feelings.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
My cable blurb for this film listed Juliette Lewis first, then Camille, then described the story in just One sentence. I've enjoyed Lewis a lot in the past, so I viewed the film. But that one sentence blurb was about the right length!
I don't want to blame the actors, but the director and writer? Probably. The characters' "character" were mostly hidden: by flashbacks out of context, or by brief sentences or silence in response to direct questions. The dialogue itself may well have been too cryptic to even give the actors insights into their part. Seemed they still had little to show us about their characters in non-verbal ways. When actors don't "get" their character, certainly the director must fill in gaps left by the writer. The feeling I got (& this isn't a verdict, just a description of what scenes "felt like") was that some actors' insights here, maybe weren't heard, or were passed over, by the director. I kept my ears and eyes open for gut level insights, 'cuz the dialogue was empty. When people try to hide something, they may fib but even those untruths can offer viewers some insight into what the character is feeling. Not here, only that they didn't want to talk, or they felt uncomfortable (about good things or bad). Lewis' late scene with Egglesfield's "David" was a bit different, but when everything "Jill" said was nasty, David's verbal response was in disgust, but his behavior wasn't. His character seemed vacuous for not just leaving the cafe - the table seemed empty, and Jill was not "helping". Visually too, like in the cloaked flashbacks, viewers were given little help in several (many?) scenes, like Angie & David sitting inside the trailer, the camera is bouncing around. I'm listening to them talk, and the bouncing is just a distraction. It's almost like the photographer saw too little evidence of the tension in the actor's behavior, or in their words; and so decided to move the camera, at least to supply evidence of some inner struggles in these two friends. If the trailer had at least been in motion, I could have stayed in tune to the dialogue, having seen that the road was bumpy (literally and figuratively). Most of us (the viewers and the makers of the film) know more about the feelings prompted by some situations in this plot, but a better review here, may be implying a reviewer has inserted his/her own experiences into this story; filled it out. I think that viewers can plant more insights into this film, than the film can drop into the viewer.
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