Numa cerimónia religiosa, o olhar de Francisco é atraído pelos pés de Gloria, sentada na primeira fila. Depois da missa, segue-a mas perde-lhe o rasto. Encontra-a e afasta um namorado incómodo, Raul. Francisco e Gloria casam. Logo na viagem de núpcias começa um pesadelo para Gloria, de que ela escapa com a ajuda de Raul, com quem refaz a vida. Tem um filho, a quem dá o nome de Francisco. Em família, visita o ex-marido, que foi viver a sua amargura para um convento. É informada de que o estado dele regista francas melhoras, que parecem ser contrariadas pela sua incapacidade de andar a direito. (Leopardo Filmes)


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inglês This Strange Passion is like our premier, Paroubek. He also has the sexiest brain ever that knows that without believable characters, a picture like this just can’t work. It’s a sort of In a Lonely Place with more (much more) straightforward screenplay when the entire story is obvious in the first five minutes of footage, which is a great shame. At least it was partly made up for by the marvelous acting performances and exquisite camera that becomes all the more apparent because it shows “just" a regular intimate interior picture. ()


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inglês The 1926 novel "Él" by Spanish author Mercedes Pinto inspired Buñuel to write a rather interesting film essay on the subject of interpersonal relationships. It’s about dependence on a partner, the relationship to one’s environment, the ego, and other usual corners of the human soul. As is traditional with Buñuel, I have a hard time with the transposition of literary models forward in time, and of course, as ever, I don't rest my eyes with pleasure on that 1950s aesthetic, which is simply questionable. However, if I detach myself from the determination of place and time, I can appreciate and even surprisingly recommend this intimate story about a marriage. I'd just be very careful about comparing it to Fassbinder's film Martha; the story is much more comparable to Buñuel's later adaptation of the book "The Woman And The Puppet." ()


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