Complete credited cast: | |||
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Ricardo Meneses | ... | Sérgio |
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Beatriz Torcato | ... | Fátima |
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Andre Barbosa | ... | João (as André Barbosa) |
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Eurico Vieira | ... | Virgilio |
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Jorge Almeida | ... | Police 1 |
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Salomão | ... | Man with Doberman |
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Joaquim Oliveira | ... | Mário |
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Florindo Lourenço | ... | Matos |
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Rodrigo Garin | ... | Young man in bathroom |
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Luis Zorro | ... | Young man in Sergio's room (as Luís Zorro) |
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Maria Paola Porru | ... | João's Mother |
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João Rui Guerra da Mata | ... | Police 2 (as Guerra da Mata) |
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Lorde | ... | Lorde |
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Swing | ... | Doberman |
Young and handsome Sergio works the night shift as a trash collector in Lisbon, Portugal. He can't force himself to connect with his pretty female co-worker Fatima, who displays an avid interest in him, so instead Sergio roams the city with the trash company's pet dog. Eventually Sergio becomes fascinated with a sleek motorcycle, and then also its owner, João - a young man totally indifferent to Sergio. The frustrated trash collector's surfacing sexual desires unleash his darkest impulses, sending him down a dangerous path of violence, depravity and degradation. Written by mikhail080@cs.com
What begins as a story of a homosexual young scavenger in the streets of Lisbon ends like an almost surreal wandering of a cartoon character amid images of litter and desolate sceneries. The sequences of the first half of the movie seem to show the young man's lonely course, obsessed by the love of men's bodies and motorbikes and feeling equally excited when he caresses any of them. His only friend is the dog which goes everywhere with him. This first half although made of a lot of fragmentary scenes some of them very crude and hard core, has some meaning by showing in acceptable realistic terms the young man's obsessive course. But in my opinion the final scenes twist that meaning and change something psychologically real and authentic into some rare pathologic anomaly of the mind which devalues the whole story a lot. The movie has however some value because of the convincing visual harshness of scenes in its first half, combining in a somewhat symbolic way the real garbage the scavengers have to collect with the filthy obsessions in the main character's mind in a series of simultaneously uncommon and sordid but real scenes.