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Title: Two Drifters (2005)
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| Complete credited cast: | |||
| Ana Cristina de Oliveira | ... | Odete | |
| Nuno Gil | ... | Rui | |
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João Carreira | ... | Pedro |
| Teresa Madruga | ... | Teresa | |
| Carloto Cotta | ... | Alberto | |
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Filipa Gordo | ... | Supermaket Colleague |
|
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Cláudia Faria | ... | Pregnant Costumer |
| Eric Santos | ... | Álvaro Costa | |
|
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Carlos Pimenta | ... | André |
|
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João Carlos Arruda | ... | Tó |
|
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Francisco Peres | ... | Priest |
| Maria João Falcão | ... | Marisa | |
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Carlos Afonso Pereira | ... | Man in the Field |
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Beatriz Torcato | ... | Doctor |
Pedro and Rui kiss after a first-anniversary dinner; Pedro drives home, dying en route in a crash. Another pair of lovers, Odete and Alberto, split over her desire to have a child. Pedro lived in Odete's building. She attends the wake, stealing a ring, a last gift from Rui, from Pedro's finger. She behaves hysterically at the graveside, and later, wearing Pedro's ring, she insists she's carrying Pedro's child. Rui grieves as well, drinking too much and seeing Pedro's apparition. Odete's obsession intrudes on Rui, whose grief makes him vulnerable to her hysteria. Can this end well? Written by <jhailey@hotmail.com>
The grimness of the pre-credit sequence of Joao Pedro Rodrigues' "Two Drifters" isn't maintained though what follows is hardly a barrel of laughs. This is a film about people who are emotionally damaged and who are overwhelmed by grief. Odete, (Ana Cristina De Oliveira), is the beautiful but lonely girl who works in a supermarket and longs to have a baby. Rui, (Nuno Gil), is the young gay man she meets at the wake of his lover, Pedro, and who holds himself responsible for Pedro's death and nothing is quite what it appears to be on the surface.
For example, Odete is far from a conventional heroine. Her neuroses, indeed you might even say her madness, doesn't make her particularly sympathetic and her relationship with Pedro is never really explained. Rui, on the other hand, despite all his guilt, is the more empathetic of the two characters and it is he, rather than Odete, we root for.
Because of the darkness of the subject matter this isn't an easy film to like but Rodrigues handles the material beautifully and all the performances are first-rate. It never really saw the light of day and has largely disappeared and while it strictly doesn't fall into the category of New Queer Cinema it is, nevertheless, a welcome addition to what I would consider 'gay-themed' cinema.