The Last Days of Gilda

Right from the impressive beginning, we come to know Gilda as a free-spirited Brazilian woman, who spends her days slaughtering pigs and preparing tasty, exuberant meals for her neighbours and friends. She has several lovers, who, when they are with her, are their most intuitive selves. But her liberal way of life also causes friction in the neighbourhood. In this suburb of Rio de Janeiro, Gilda is on everyone’s lips. During the build-up to the elections, controversy arrives in the neighbourhood and highlights Gilda’s behaviour. In spite of her sincere intentions, she is considered a threat.   

Gilda would not be Gilda if she did not fight against the rising conservatism in her neighbourhood. The situation escalates when her befriended neighbour becomes involved with the conservative Cacilda. The latter is a dedicated mouthpiece for the party of a reactionary vicar, who is quickly collecting souls in the Godfearing neighbourhood. This seems to be the beginning of the end, as it becomes harder and harder for Gilda’s behaviour to go together with the resurrection of strict conservatism. When the conservative politicians form a pact with the bad guys from the favelas, the message becomes clear: Gilda has to adapt her liberal lifestyle, or there will be consequences. But Gilda will not easily be chased away. If she cannot be herself behind her front door, where can she? 

Jair Bolsonaro’s government has had a heavy toll on secularism, so the film’s identity is as controversial as its main character. This interesting parable about present-day Brazil was originally a theatre production. The film was intentionally shot as a four-part miniseries for streaming channels, because there are slightly more possibilities than in the film industry, which is increasingly being stripped by the government.