Film: From Beginning To End
Release date: 28th March 2011
Certificate: 18
Running time: 96 mins
Director: Aluizio Abranches
Starring: Gabriel Kaufmann, Rafael Cardoso, Lucas Cotrin, João Gabriel Vasconcellos, Júlia Lemmertz
Genre: Drama/Romance
Studio: TLA
Format: DVD
Country: Brazil
From Beginning To End is essentially a love story which examines the emotional and physical development of a relationship between two men. By subject focus alone, the picture might put you in mind of say, the well-known Brokeback Mountain, or maybe some other more underground feature which strives to portray the stark realities of gay love. This however, is likely to be different; firstly, in being Brazilian, and secondly, by simultaneously tackling what very few directors have dared, or had the inclination to cover, and what is arguably the last real taboo subject in modern society – that is, incest.
This film tells the tale of two half-brothers, Francisco and Thomás and their increasingly developing special bond. The first half of the film - which centres on their childhood - is set against the backdrop of their loving, supportive and almost unrealistically idyllic childhood home, whilst the second part of the film transports us right through to an adulthood that is marked significantly by the death of their mother. It is here that their exceptionally close relationship is affirmed as sexual to the viewer, but is soon to be blighted by their long-term separation as the younger brother, Thomás, begins to have his Olympic dreams as a swimmer realised. In order to truly live them, though, he is required to move to Russia to train for the three years leading up to the games - heart-breaking stuff for the young lovers to endure.
Once the difficult decision that Thomás should go to Russia has been made, the emotional trauma of being separated for the first time in their lives is the focus of the second half of the film. It details the strain on their relationship that results from their communication being reduced to mere web-based exchanges, and the emotional, behavioural and sexual effect that being left behind has on Francisco. In his state of torturous despair he begins a drink-and-party tirade that is obviously impacting on his health and mental state. The unfolding events leave us wondering – will this separation lead to the demise of their relationship, or will it withstand the unlikely odds?
In the first half of the film, the child actors playing Francisco (Lucas Gotrin) and Thomás (Gabriel Kaufmann) put in astoundingly good performances - a particularly impressive feat for Kaufmann at his mere 8 years of age. They are both adorable, too, and set the basis of the characters’ unusually close relationship. So well do they play their parts in fact, that there are times when you might ask yourself if there is anything more to this brotherhood than just the innocent actions of childhood and familial love. This is where the vitally good performances of the adults around them come through, particularly their mother, Julieta (Júlia Lemmertz), in keeping the potentially darker side of their relationship to the forefront of the viewers mind in the early phases of the film (when the young actors, and the characters themselves, are too young to bring forth the gritty side of this story).
Surprisingly, it is in these early phases of the film, with young Gotrin and Kaufmann at the helm, that the most interesting themes come out. Where some have said that the relevance of Thomás being born with his eyes closed has been lost on them, it is here, with his ‘decision’ as a newborn to open them only to look squarely into the eyes of the older brother he will come to love passionately that the question of the meaning of ‘free will’ is raised. Similarly, Francisco’s young character talks about “true happiness” felt by his whole family at an uncomplicated point of their lives. These themes could have been made into so much more, however, but sadly seem to get lost somewhere along the way - never really touched upon openly again in the second part of the film.
There are one or two enduring aspects of the film across the two distinct halves, though. Firstly, a striking resemblance between the child and adult actors playing Francisco and Thomás, serve to minimise the sense of disjointedness that the sudden child-to-adult transition might have incurred. Secondly, when the concerned Julieta speaks to the Francisco about his relationship with his younger brother, she speaks of there being both a good and bad side to all things in life, and this becomes a continuing theme throughout their adult life. For example, as Thomás lives out a momentous opportunity in his career in going to Russia to train for the Olympics, the upshot is a long and arduous separation, with cracks beginning to appear in the brothers’ usually faultless bond. Even in their own understanding of what they feel for each other, they recognise both the good and the bad, as Thomás says to Francisco: “I love you because… to understand our love, they’d need to turn the world upside down.”
The second half is somewhat lacklustre in comparison to the first. There is nothing particularly critical to be said about the performances of João Gabriel Vasconcellellos (Francisco) or Rafael Cardoso (Thomás), from whom the passion and sincerity of their relationship comes through quite convincingly.
Credit is also due for the plot not taking the expected route of there being an intrusion from someone who discovers their affair and makes it their sole intention to bring it to an enforced end. Quite the contrary, they seem to experience nothing other than open acceptance from all whom they are in contact with. The problem with this, though, seems to be that of it reducing the plot (and all of the building dramatic tension) to little more than the difficulties of a long-term relationship that could be felt by any two people in love. As a result, the real issue at hand seems somehow diluted, and the lack of adversity means a relative lack of action in the second half of the film. Now, if it was the intention of the director, Aluzio Abranches, to bring the brothers’ extraordinary relationship down to something dour and fairly uninteresting, so as to bring it into the realms of normality, then it should be said that it was achieved quite brilliantly.
This picture may, on the surface, be primarily about homosexuality and incest, but it ends up being nothing but a simple and eloquent love story. It is up to the viewer then to decide whether this simplification is to the detriment or to the merit of the film as a whole – either highlighting the insignificance of their blood-relation in their unwavering love and affection for one another, or alternatively, dismally understating the emotional trauma and mental turmoil of their unique situation for both themselves and their family (which arguably makes it a totally unrealistic representation of the topic). This does, however, depend on viewpoint and perception alone and can only be decided by sitting down and watching it yourself.
While the subject area might dissuade some people from taking the time to see From Beginning To End, it is those who are most adamant that they won’t enjoy it that should certainly take the time to give it a go. Whatever might be said about its actual entertainment value, not only is there something quite gripping and emotional about this film - but it might surprise you - as it allows the viewer to learn about, and question, their own attitudes and behaviours as much as (and in some ways, more than) it does Francisco and Thomas’.
This is, in spite of its fair few weaknesses and unanswered questions, a truly enlightening picture which manages to tackle this taboo issue in a surprisingly graceful manner. Well worth a watch. LJ
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