Loveling
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Loveling

Some people go to the movies in search of authenticity, while others merely seek escapism. “Loveling” was clearly intended with the former group in mind, as Brazilian director Gustavo Pizzi crafts a warm and wonderfully universal love story that comes across surprisingly Downsizing unconventional for something so familiar, if only because it focuses not on youthful passion (that more popular of screen subjects) but the full range of emotions a middle-aged mother feels toward her family.

The film’s soul truth springs from the fact that its leading lady and co-writer, Karine Teles (who just so happens to be Pizzi’s wife), has either lived through or imagined herself facing so many of the incidents it depicts. As a result, “Loveling” represents a wonderfully intimate project for both the couple who created it and anyone fortunate enough to encounter the film on its A Faithful Man festival run, which kicked off as one of Sundance’s opening-night selections. Subsequent theatrical exposure looks more iffy, as the escapism crowd holds greater sway on commercial cinema today.

Simply put, mainstream audiences seem reluctant to invest between $15-20 to watch a Brazilian mom worry about such things as whether her teenage son can be trusted to get home safely from a party where alcohol is served, or how to encourage her husband’s latest business venture Midnight Sun when it could mean having to sell their house and all the memories it has witnessed. Because real people deal with such headaches everyday, they don’t necessarily rush to see them depicted on-screen, and yet, in Pizzi and Teles’ hands, such kitchen-sink melodrama takes on a kind of poetic profundity.

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Loveling
Loveling
Loveling