The third episode of the Cities of Love series, Rio, Eu Te Amo is a collective feature film, composed of 10 short film segments created by 10 established directors from across the globe. The story line of each segment of the film focuses on an encounter of love in a different neighborhood of the city, demonstrating the distinctive qualities and character of that location. The film serves to bridge gaps between cultures, educating and entertaining the audience, while celebrating unique and universal expressions of love.Written by
Emmanuel Benbihy, Executive Producer
Portmanteau segmented film tied together by stunning gorgeous scenery shots of Rio.
Ohh: must take this chance to be first to review! More appropriate as the tagline (on the box): "Some Love Stories Only Happen in Rio", which struck me as more representative of one of those portmanteau type segmented films, which still attempts to tenuously link them altogether - and by which, if you're of the romantic bent, then may appeal: otherwise bit contrived at times.
However, some gorgeous wraparound air shot scenery of Rio's islands and location is worth the price of time entry alone. (Closing Statue of Christ shots especially worth appreciating as they nearly had to cut them out = see trivia.)
Some segments have some particular added interest for the actor / characters cast / portrayed (with their respective directors): Wouldn't want to (plot) spoil too much of it, but standouts for me were Emily Mortimer particularly – in that you have to wonder, is she portrayed to really genuinely care for her (much) elder 'beau', but so much so that I was disappointed that we weren't given complete closure on her character's fate; and of interest was well known actor John Turturro's segment (Qunda Nao há Mais Amor') - also his own written, is a sort of 'duet' with a famous prior singer (and spouse of another famed US actor), which seems to be saying age - and violent episodes?! – are immaterial to true love (ah, perhaps a veiled observation on that former marriage?!): plus Nadine Labaki's closing segment stands out for a performance coaxed out of a (local?) youngster (nice story conceit, too, with another famous Stateside actor more or less – literally - 'phoning in his performance.) Then, for you Korean Sang–soo Im fans, there's another of his idiosyncratic 'horrors' with, of cinematic note, Hugo Carvana's last also idiosyncratic appearance; - and won't give its title here, as it would be better to see it before you know that. And for me the best segment is the mid no dialogue one that begins with French star Vincent Cassell, that ends, frissonly segueing into revealing the owner of his inspiration.
If these attempts at non plot spoiling explanations intrigue you, then this is worth investigating.
Other than that, middling score for attention grabbing, although has to be high score for intertwining narrative efforts on display.
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