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Traição

1999 Brazilian film From Wikipedia, the free encyclopedia

Traição is a 1998 Brazilian drama film directed by Arthur Fontes, José Henrique Fonseca, and Cláudio Torres, with a screenplay based on short stories from the book A Vida como Ela É... by Nelson Rodrigues.[1] The film received awards for Best Director, Best Supporting Actor for Francisco Cuoco, and Best Supporting Actress for Ludmila Dayer at the 31st Brasília Film Festival.[2][3]

Directed byArthur Fontes
José Henrique Fonseca
Cláudio Torres
Written byPatrícia Melo
Fernanda Torres
Mauricio Zacharias
Cláudio Torres
Production
company
Conspiração Filmes
Quick facts Directed by, Written by ...
Traição
Directed byArthur Fontes
José Henrique Fonseca
Cláudio Torres
Written byPatrícia Melo
Fernanda Torres
Mauricio Zacharias
Cláudio Torres
StarringPedro Cardoso
Fernanda Torres
Alexandre Borges
Ludmila Dayer
Daniel Dantas
Drica Moraes
Production
company
Conspiração Filmes
Release date
  • 26 February 1999 (1999-02-26)
Running time
104 minutes
CountryBrazil
LanguagePortuguese
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Plot

The film is based on three short stories adapted from the works of Nelson Rodrigues, all revolving around the theme of infidelity — some infused with moments of humour, others culminating in more tragic outcomes. Traição presents the story of a man who falls in love with a married woman; a segment in which a young woman draws the attention of her sister's fiancé; and a third tale concerning an unfaithful wife who is taken hostage by her husband after he discovers that she has been betraying him with his best friend.

Cast

Reception

Cecilia Barroso, from the website Cenas de Cinema, stated that Traição is yet another adaptation of Nelson Rodrigues' stories, consisting of three episodes that address the theme of infidelity, "a recurring theme in the work of Nelson, an expert on taboos." Regarding "O Primeiro Pecado", she notes that "the screenplay seems to lose its rhythm and becomes rather confusing" and that, "despite the good performances, it fails to take off." As for "Diabólica", she observes that it is "better than the first," but that "the screenplay does not seem to have kept pace with Nelson's full capacity for resolution." Concerning "Cachorro!", she considers it "without a doubt, the best of the episodes," with influences from Tarantino, though she adds that "it is not the best story." Finally, she concludes that the film "falls short when compared to the series A Vida como ela É" and that, although it is "interesting, it is far from being an indispensable work."[4]

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