Distinguished American wordsmith Elizabeth Bishop is renowned for her non-confessional, somewhat impersonal approach to poetry, as though peering in at the world from the outside and not always commenting from within. While certainly tender, she was sometimes described as being detached – and this Bruno Barreto biopic frustratingly abides by such a principle, almost shadowing that of its protagonist, as a film comes across as being a little disengaged.
Miranda Otto plays Elizabeth, as we look predominantly into her tragic lesbian love affair with the renowned Brazilian architect Lota de Macedo Soares (Glória Pires). Though initially flying over to the South American nation for a mere holiday to catch up with an old friend Mary (Tracy Middendorf), the poet finds herself falling hopelessly in love with Mary’s partner, and the pair enter into an illicit affair, causing Elizabeth to move in at the Brazilian property. However as their love grows ever stronger, their mental states become increasingly more fragile, as while Elizabeth develops an addiction to alcohol, Lota battles with depression.
Part of the reason it’s difficult to emotionally invest in this tale, is down to the opening stages where we rush through the initial meetings between Elizabeth and Lota. Given the entire film hinges on their relationship, with very little prior development it becomes difficult to believe in them from the word go, which proves detrimental as we approach the latter stages. There is a nice subtlety to their romance though, as Barreto understates the love somewhat, which matches the personalities of the two unsentimental figures caught up in it.
Conversely, Barreto can be accused of attempting a little too much in other areas, deviating carelessly away from simplicity, as a film that’s complex and convoluted. There are too many themes being explored and it’s all somewhat overbearing, as each element is devalued accordingly. Not only is there Elizabeth’s alcoholism, but Lota’s depression, their romance, their careers, the child Lota adopts, screwing over Mary, having to adjust to a new culture – plus many more. Each individual theme is deserving of its own feature given the gravitas behind it, but when you put them all together it’s overwhelming, and we’re never quite sure what to focus on. It’s a common fault made by filmmakers when attempting biopics, with this inclination to portray every aspect to the subject’s life (take Mandela: A Long Walk to Freedom, for instance), when in reality, finding a more intimate strand is far more beneficial.
Nonetheless, Otto’s nuanced performance elevates this production above complete mediocrity, as she portrays such a fragility to her demeanour, and a miraculous ability in ensuring she always looks as though she’s on the verge of bursting into tears, without actually crying. There’s a pain behind her eyes, and in spite of her cold, dispassionate personality at times, there’s a softness that makes for an endearing figure.
The other commending aspect to this title is the serenity of the setting, as the Brazilian countryside allows the viewer a gratifying, visual experience. However ultimately it’s not enough to save this film, which, much like our protagonist, would benefit from letting itself be a little more uninhibited.
[Rating:3/5]
