Ignácio de Loyola Brandão's short story "Obscenities to a Housewife" is faithfully translated to the screen with a great sense of humor and originality.
Imara Reis plays Helena, a solitary housewife who spends her afternoons anxiously waiting for mysterious letters sent to her, possibly from a man who writes lustful words and thoughts fantasing about her. But she receives those letters with mixed reactions and mixed sensations either being appalled by the language since she's very conversative it the matters of sex but also she experiences some out of control excitment that makes her curious in finding out who's the person behind those messages of which she always manages to hide from husband and kids view.
Actress Nina de Pádua is the only voice heard in the movie and she acts her as the woman's conscience through the whole story, describing her inner feelings about the letter, or imagining who could the mystery man behind those dirty words that can cause either repulsion or some interest on her, as she tries to keep busy during the day, going to the market or taking the kids here and there but always thinking about those letters.
The movie follows the exact same idea as Brandão's short story but instead of showing too much of Helena's thoughts (she's nameless in the original story), we follow her actions wheter by herself or with others of whom she barely interacts. But the major scheme is all there: the duality of being prude since she's a devoted wife and mother as opposed to a liberated and fully aware of her partner's sexual desires with some perversations explored. Deep down inside she knows those letters are the only things that make her alive and desired; otherwise, she'd jump out the window since her marriage is a boredom. Yet she never writes back to the man but there's a catch about that which is best to not be revealed.
For future screenwriters, this is a must-see work to analyse how adaptations can be translated to the screen. There's no betrayal from the original source, there are plenty of verbatim used, and the imagination takes over in seeing how Helena acts through the days while her thoughts are on full display. The only thing from the short story that was left out and I thought it'd be hilarious if included is a moment where she gives dozens of many different names to the male anatomy (it's hilarious!).
Outside of the world of writers, the regular viewer will find amused and curious with the whole situations presented, and it deals with an universal aspect of everyone's lives with questions about how peculiar and contradictory human beings can be: to follow the mind and thoughts, or following the heart and its desires; to be on a stable relationship or the possibility of a wild adventure. The heart seeks pleasure first but the mind is stronger and overthinks everything. Oh poor Helena...but she knows the real version of herself. 10/10.
Imara Reis plays Helena, a solitary housewife who spends her afternoons anxiously waiting for mysterious letters sent to her, possibly from a man who writes lustful words and thoughts fantasing about her. But she receives those letters with mixed reactions and mixed sensations either being appalled by the language since she's very conversative it the matters of sex but also she experiences some out of control excitment that makes her curious in finding out who's the person behind those messages of which she always manages to hide from husband and kids view.
Actress Nina de Pádua is the only voice heard in the movie and she acts her as the woman's conscience through the whole story, describing her inner feelings about the letter, or imagining who could the mystery man behind those dirty words that can cause either repulsion or some interest on her, as she tries to keep busy during the day, going to the market or taking the kids here and there but always thinking about those letters.
The movie follows the exact same idea as Brandão's short story but instead of showing too much of Helena's thoughts (she's nameless in the original story), we follow her actions wheter by herself or with others of whom she barely interacts. But the major scheme is all there: the duality of being prude since she's a devoted wife and mother as opposed to a liberated and fully aware of her partner's sexual desires with some perversations explored. Deep down inside she knows those letters are the only things that make her alive and desired; otherwise, she'd jump out the window since her marriage is a boredom. Yet she never writes back to the man but there's a catch about that which is best to not be revealed.
For future screenwriters, this is a must-see work to analyse how adaptations can be translated to the screen. There's no betrayal from the original source, there are plenty of verbatim used, and the imagination takes over in seeing how Helena acts through the days while her thoughts are on full display. The only thing from the short story that was left out and I thought it'd be hilarious if included is a moment where she gives dozens of many different names to the male anatomy (it's hilarious!).
Outside of the world of writers, the regular viewer will find amused and curious with the whole situations presented, and it deals with an universal aspect of everyone's lives with questions about how peculiar and contradictory human beings can be: to follow the mind and thoughts, or following the heart and its desires; to be on a stable relationship or the possibility of a wild adventure. The heart seeks pleasure first but the mind is stronger and overthinks everything. Oh poor Helena...but she knows the real version of herself. 10/10.
