March 5 was marked by the launch of, the film that marks Bruna Marquezine’s debut in cinema.
Directed by the photographer Klaus Mitteldorf, the film tells the story of Ophelia (Bruna Marquezine), a young woman, resident of Santos (SP) who decides to go in search of her biological father, Tedesco (Peter Ketnath) swimming to Ubatuba.
With a weak and confused metaphor, like the character Tedesco, Mitteldorf is more interested in images than people. The film, in addition to not creating bonds with the viewer, generates more questions than answers. The first one, certainly: why didn’t Ophelia choose to go looking for her father by means of transport? Amid various possibilities, the young woman embarks on a swimming journey, 250 kilometers just to irritate her mother (Ondina Clais Castilho).
Klaus left something to be desired in the construction of a plot for his characters. And that the film becomes an aesthetic product with wonderful images of the Brazilian coast, but without a convincing narrative hook.
An example of this is the character Smutter (Fernando Alves Pinto), who has the role of watching Ophélia at the behest of his father, who disappears and appears in the scenes almost magically, without making any sense in these appearances.
During the exhausting feature film, two nude scenes attract attention, one of them is starred by Bruna Marquezine and the other, recorded by her character Ophelia, who photographs two naked women dancing on the beach. Objectification of the female body? This is what can be seen as soon as the scenes are vague and have no justification in the narrative, being used merely for the male eye and reinforcing the idea that Klaus’ concern was focused on art, and not on development of the characters present in the plot.
Ophélia’s tireless search for her father is practically illogical and ends in the most obvious way the viewer can imagine, reinforcing once again how much Klaus sinned in the construction of this plot, focusing only on photography and the aesthetic part, which are impeccable.
In contrast, Bruna and Fernando Pinto deliver good performances, but they were also hampered by Klaus’ relentless search for aesthetics. In her cinema debut, Marquezine performed flawlessly, giving her maximum, even with a weak script limiting her, the actress debuted in cinemas showing that her talent and charisma goes far beyond social networks and soap operas.