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To Die Like a Man (2009)
"Morrer Como Um Homem" (original title)

 |  Drama, Music  |  8 April 2011 (USA)
6.5
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Ratings: 6.5/10 from 568 users   Metascore: 68/100
Reviews: 3 user | 35 critic | 8 from Metacritic.com

A transsexual woman tries to erase any past history of herself as a male. Struggling with a young male lover and a problematic son.

Writers:

(screenplay), (screenplay), 1 more credit »
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Cast

Cast overview, first billed only:
Chandra Malatitch ...
Zé Maria
John Jesus Romão ...
Mendes (as John Romão)
Ivo Barroso ...
Cardoso
Gonçalo Ferreira De Almeida ...
Maria Bakker
Miguel Loureiro ...
Paula
Francisco Peres ...
Médico cirurgião plástico
Fernando Santos ...
Tonia
Cindy Scrash ...
Irene
Carloto Cotta ...
Carlos
Jenni La Rue ...
Jenny (as Jenny Larrue)
Gonçalo Mendes ...
Sergio
Alexander David ...
Rosário
Fernando Gomes ...
Teixeira
André Murraças ...
Dr. Felgueiras
Amãndio Coroado ...
Médico Hospital
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Storyline

A transsexual woman tries to erase any past history of herself as a male. Struggling with a young male lover and a problematic son.

Plot Summary | Plot Synopsis

Genres:

Drama | Music

Certificate:

See all certifications »
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Details

Country:

|

Language:

| |

Release Date:

8 April 2011 (USA)  »

Also Known As:

Morir como un hombre  »

Box Office

Budget:

€240,000 (estimated)

Opening Weekend:

$2,346 (USA) (8 April 2011)

Gross:

$3,939 (USA) (27 May 2011)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Soundtracks

Mulher sentimental
Music and Lyrics by Peter Yellowstone and Robert Danova
Performed by Fernando Santos and Cindy Scrash
See more »

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User Reviews

 
Plodding and pretentious
26 May 2014 | by (United Kingdom) – See all my reviews

A middle-aged transvestite Tonia (Fernando Santos), who works as a prominent drag-queen diva in a Lisbon club, finds herself losing her professional footing, when a young black artist Jenny (Jenni La Rue) is quickly stealing her limelight. However, this ultimately falls secondary to her more personal issues of a youthful boyfriend Rosario (Alexander David), who is a drug addict, and her previously estranged son Zé Maria (Chandra Malatitch), who deserted the army after killing his lover in a frenzied loss of control. Despite the self-destructive tendencies of both her protégées, Tonia is never dissuaded to drop a lost cause, even though Rosario persistently pawns her belongings and Zé Maria remains overtly contemptuous for his parent.

João Pedro Rodrigues starts off with a bang: two soldiers in full camouflage engage into their carnal desires in the midst of a dense wood. Soon after they venture into a touch of voyeurism, observing a homosexual couple in their house, which in turn seems to trigger an intense rush of self-hate in one of the soldiers, who shoots his lover- comrade in arms. Portrayed with the use of some brave, if not always successfully framed, camera-work, "To Die Like a Man" starts off strongly, suggesting a power of themes to be harnessed. Soon after however focus shifts to Tonia, who in herself is a delight to view, but is pasted onto a jarring disfragmented story, which at times seems more interested in capturing eerie odd shots, then actually telling a story. Jumpy and unfocused the picture gives off a strikingly independent, almost unprofessional, vibe, that at times is shaken off when Rodrigues actually succeeds in capturing a cinema moment.

This is not helped by the often wooden support cast, who at times drops off into pointless banter, or ventures into singing in graveyards or reciting poetry (the only moments when the movie decides to stay still and deliberate with a given scene). Plodding on within its odd self- imposed chaos, characters fail to resonate, despite a solid performance by eye-catching Fernando Santos. The artistry involved does engage or something capture the imagination, but framed withing a fickle story it simply drags the promise away, letting the movie die with a whimper. Obviously a pretty divisive movie many viewers will find the audacity of some experiments profound and help gloss over the weaker spots, but my interest waned after tiresome ongoings and never came back into focus.


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