Young Brazilian director Bernardo Zanotta appears to have made a queer farce, with the right amount of pace and joy, a film that owes much to the sheer delight in manufacturing cinematic images: frame, colours, motifs, bodies. A comical incipit evocative of 1980s erotic films sets the tone, with its abysmally poor dialogue, a plot that solely hinges on a car ride involving, in shot/countershot, a little man, like an ideal prey, and a voluptuous femme fatale. Shot on 16 mm film, INSIEME INSIEME is utterly charming because of its cinematic sheen, its larger-than-life characters, the texture and shimmer of its colours, encapsulated in the lipstick of Cecilia, a languorous drag queen who sighs suggestively into the phone. Actors and actresses Lydia Giordano, Gustavo Jahn and Jun Ortega make up a wandering trio in the recesses of cinephile and literary memory. In a narrative that freely brings together quotes – from Plato’s Phaedo to Laclos’ Les Liaisons dangereuses – and tributes to cinema – first and foremost Antonioni -, Bernard Zanotta blends languages (English, French, Italian), periods and motifs pertaining to several registers (romance, black comedy, gore or slasher films, B movies…). Libertinism is what informs the film, a film that moves forward by leaps in the editing, as though driven by mood swings, constantly transgressing the plot’s formality and the norms of genres. When he stages a threesome in the shower, or sadistic pleasures, or a murder, he never succumbs to the raw nakedness of head-on voyeurism. Indeed, what the films promotes is cinema’s very artificial dimension, through abrupt interruptions, elliptic framings, or over-the-top, self- deprecating acting. And if INSIEME INSIEME conjures the spectre of death, it is solely to foil life’s tragedy in an aimless world, where whimsicality is the surest path to pleasure.