MIFF daily diary 5

TO DIE LIKE A MAN

The latest film from Portuguese director João Pedro Rodrigues is, like his earlier works O Fantasma (2000) and Odete, a queer-themed drama that borders on melodrama; but unlike his first two films, To Die Like a Man is filmed in such a stylised and fragmented way as to drain almost all emotion from the story in progress.

The film opens with a group of camouflage-clad soldiers on a night-time training exercise in a forest. Two of the men creep away from their comrades, and once alone, fall into a passionate embrace which leads quickly to sex, and then to murder.

Next we meet Tonia (Fernando Santos), an aging drag queen dealing simultaneously with two major dramas: his loss of status in the nightclub where he has worked for years, and a highly strung junkie boyfriend, Rosario (Alexander David), who is young enough to be his own son.

At Rosario’s insistence, Tonia is contemplating having a full sex change; a procedure which is explained to viewers in detail early in the film through the inventive use of origami, but we are given no indication that gender reassignment would bring any form of stability to the pair’s relationship, even once Rosario gives up using heroin. Instead we explore the petty details day-to-day of Tonia’s life: her falling out with an old friend, her fights with an up-and-coming young drag queen at work, and her infected, pus-leaking left nipple.

Just when it seems we are going to be witnessing a mundane domestic drama (well, as mundane as any drama can be whose main character is a highly strung drag queen), the film takes a twist by reintroducing the murderous young soldier we met in the first scene. He is, of course, Tonia’s son.

Before we have even had a chance to process this revelation, the film swiftly enters road trip territory – and very trippy territory it is, with Tonia and Rosario encountering a reclusive transsexual couple living in the forest who take them snipe hunting (despite the fact that snipe are extinct). It’s at this point that things get seriously fragmentary, with a sepia-toned musical sequence by an Antony and the Johnsons sound-alike sweeping up the characters for several excruciating minutes, after which we’re back to the action, and indeed, back to melodrama.

Of all the films I have seen at MIFF to date, To Die Like a Man is the most baffling and frustrating. Like a deranged cross between Fassbinder and Almodovar, Rodrigues introduces plot elements only to discard them minutes later; embraces melodrama only to abandon it in favour of formal abstraction; and coaxes both magnificent and scenery-chewing performances from his cast.

There is a heartfelt and poignant drama buried somewhere in To Die Like a Man, but unfortunately it is lost – no doubt deliberately – amidst the fragmented, arch and dry film that Rodrigues has crafted.

To Die Like a Man (dir. João Pedro Rodrigues from his own screenplay, produced by Maria Joao Sigalho, Portugal/France 2009)

Melbourne International Film Festival, June 22 – August 8

’It’s a matter of taste’