Touching and kissing Dona Flor on the forehead and placing carefully his hand on her, differentiates the aggressive and intense relationship that Dona Flor has with Vadinho. With Teodoro, the shots don’t shake and present him on medium to close-ups. Her relationship is fragile as Vadinho gambles all her money away and has numerous affairs. The shaky handheld camera reveals often the state of Vadinho but also the shaky relationship between them. When with Vadinho, Dona Flor is always at a certain distance from him, and so does the camera. The shots are subjective and reveal more about the male characters and the situation of Dona Flor. Despite this, her repressed sexual desires and open-mind, allow her to move on and accept her true self. The latter is something that should never be romanticized such as the film does. Depicting forgiveness and love, mixed with sexual desires and domestic violence, the film gives an old-fashioned view of domestic abuse. Not delving into the abuse that Dona Flor suffered, but portraying it as if it’s her deep love, which is based on her sexual desires.īy forgiving him and not addressing her abuse, the film portrays her life as a mutually open relationship (by the end of the film). Polyamorous or just abuse?īeaten, ashamed, and betrayed, Dona Flor pardons all the devilish actions that her first husband does. Nevertheless, she is still missing something.
While she moves on from her mourning time, Dona Flor meets pharmacist Teodoro (Mauro Mendonça) who brings to her life the stable life she longed for. As Dona Flor laments the loss of her husband, the rest of the community is happy for her. Until one day he drops dead while dancing at a street party during carnival season.
Set in the 1940s in Bahia, professional cook Dona Flor (Sônia Braga) has the financial stability she needs, however, her depraved husband Vadinho (José Wilker) gambles her money away. And, at the same time, it launched Sônia Braga’s career into worldwide stardom consolidating her in Hollywood. Based on the book of the same name by Jorge Amado (1966), Dona Flor and Her Two Husbands (1976), directed by Bruno Barreto, became one of the most successful Brazilian films in the history of the country until years later in the 2000s, when a crime thriller film took over.ĭona Flor won BAFTA Awards and Golden Globes nominations which remarked its position in the international filmmaking industry.
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