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The tomboyish, outgoing Julieta is the daughter of a member of the Palmeiras soccer club board. She is constantly frustrated by what she sees as institutional bias against women in soccer. One day while watching her beloved Palmeiras, she is struck by a handsome man, Romeu, that she sees rooting for the Palmeiras' chief rivals, the Corinthians. After meeting the same man again in the middle of eye exam, Julieta and Romeu quickly become a couple. However, in order to avoid incurring the wrath of her parents, Romeu is forced to pretend to be an adoring Palmeiras fan, an increasingly difficult task for the die-hard Corinthiano.
São Paulo best friends Julia, Micaela and Diego enter their thirties entirely unprepared for the considerations of adult maturity. Julia has chosen to remain blind to the obvious signs that her current boyfriend is a two-timing cad, but her eyes are forced wide-open when she discovers that she is pregnant with his child. Diego is a party boy with daddy issues who can’t stay faithful to his sweet, dependable boyfriend. Micaela, meanwhile, is wasting her time chasing a bisexual actress who won’t even acknowledge their shared intimacy in private. As these three charismatic but troubled friends keep spinning their wheels, even their own chosen-family bonds get stress-tested to their breaking point.
“Nobody Leaves Alive” by André Ristum is shot in beautiful but also distancing black and white. Looking at the Venice line-up, this seems to be a trend this year among the maestros of cinema. The film is inspired by true events that took place in the last century in the “Colonia” hospital in Brazil. Whoever didn’t fit the standards of society, or their family’s perception of it, was locked away, tortured, and killed. There were altogether more than 60,000 victims. Hope dies last, and some of the inmates don’t give up the fight. We’re reminded of film classics such as “One Flew Over the Cookoo’s Nest” or “Alcatraz”.
