Donato works as a lifeguard at the spectacular but treacherous Praia do Futuro beach in Brazil; Konrad is an ex-military thrill-seeker from Germany vacationing with a friend. After he saves Konrad from drowning, but fails to save his other friend, initial sexual sparks give way to a deeper, emotional connection. He decides to leave everything behind, including his ailing mother and younger brother, Ayrton, to travel back to Berlin with Konrad. There, he finds both confusion and liberation, and his journey for love soon turns into a deeper search for his own identity. Eight years later, an unexpected visit from Ayrton, brings all three men back together as they struggle to reconcile the pain of loss and longing, instinctively drawn to each other in search of hope and a brighter future.Written by
42 people upset with the love scenes went out of the theater, when the film premiered at the Gramado Film Festival in Gramado, Brazil. The same happened in the cities of Niterói (RJ) and São Luís (MA). See more »
When Konrad drives around on a KTM in Germany, the motor noise you hear is clearly from a 4-in-a-row cylinders engine. But KTM only manufactures 1 and 2 cylinders motors that would never sound like this. See more »
The first love scene in the film's Part II section (containing footage of oral sex being performed) was cut in the theatrical/home video release. See more »
Beautiful, Filmic, Thoughtful, and Completely Unsentimental
This is one of those films that- when you read the story synopsis- sounds like it will be utter sentimental tripe, lousy with cliché-ridden dialog.
This film is anything but.
This is one of the best gay male-themed films I've seen in a long time. I'd put it right up there with Weekend in quality, but the two films couldn't be more different. Weekend is dialog-driven, Futuro Beach is not. There are long spans where nobody says much of anything; you just observe.
In the beginning, the story doesn't seem like it of holds a lot of promise.
But just wait. When this film shifts gears, it really shifts gears. It's impossible to predict where it's going next, always a sure sign of a good movie, IMO.
While the dialog is sparse and unsentimental, there is emotion all around. The men may be terse with each other, but they're expressive. We don't know if they're in love. That's how unsentimental this movie is. The words "I love you" are never going to be spoken in this modern relationship. What we do know is that there is a dynamic between them that neither wants to abandon.
The themes of this movie are big: life (truly living) and death (just existing). So you might be tempted to assign life-message metaphors to the locale and action. Don't. Just let the film wash over you. This is one of those rare movies that immerses you in its own universe, and by doing so, gives you some insight into your own.
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