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As he tells it to Vanity Fair, this marks the beginning of a new chapterโboth for him and, he hopes, the global positioning of Brazilian cinema. Vanity Fair: I think Motel Destino is the sexiest movie here. Why an erotic thriller next? I really wanted to shoot there again. I had just done that movie in the middle of Englandโin the middle of the spring, but it was quite cloudyโand I really wanted to choose something that celebrated life in a way which is very explosive.
Because what happened in Brazil in the last four years was the pandemic, a monster in power. And I wanted to also do something at homeโmeaning at the place I was born. The beach where the film takes place is where I spent my childhood. I thought sensuality was a great way to celebrate life, and I miss sensuality in cinema. I think sex is a celebration of life. I wanted to do something that is about a more complicated sense of identity in terms of sensuality, like who is in love with whom and what sexual orientation they have.
I was super inspired by these movies that were made in Brazil in the s. When the military came to power, censorship started. So anything that was political was forbidden. There was this whole tradition of films, which were sort of porn comedies, that then started out and were very popular.
It was sexโa very effective and very lucrative moment in Brazilian cinema, where you could talk about certain things that were politically very delicate through genre. The color palette of this film is so loud and bold. How did you devise it along the lines of creating a political genre piece?
I feel like the Global South has been producing a lot of drama. It is something that we can all play with. Noir comes from German expressionist cinema and the question of the shadows and of the light. It needs to be over-the-top color. Is that political for you, to showcase that range within Brazilian and your own cinema?