Nimble Orpheus chauffeurs his trolly through the busy streets with reservéd gusto, thoroughly at ease with lithe maximum occupancy as it swiftly travels throughout the city.
Young Eurydice arrives from the countryside to stay with her invigorating distant relatives, having been chased by a masked quasi-demon rigorously hellbent on her destruction.
Orpheus's fiancé habitually erupts with romantic exposition when they're together, and definitively craves his ubiquitous attention each and every day exceedingly composed.
They even spiritedly head out to meaningfully procure a marriage license, Mira focused and passionately determined to resonantly claim the celebrated singer.
But later in the day as time slowly passes beautiful Eurydice also catches his eye.
The dynamic artist following instinctual elements.
As everyone embraces ye olde Carnaval.
A lively retelling of an ancient myth energetically situated within modern cities, with creative new features and an inspiring setting transformatively exclaiming romantic awe.
It's not even Orpheus/Breno Mello or Eurydice/Marpessa Dawn who steal the show they're somewhat subdued when objectively compared, to sprightly Mira/Lourdes de Oliveira and vehement Serafina/Léa Garcia who add so much in the brief time they're allotted.
Serafina could have been left out entirely her tempting character by no means essential, but Garcia took the less prominent role and seductively etherealized cinematic history.
It's not just the imaginative retelling of the ancient myth that generates so much credit, its compelling presentation of the market and Carnaval bring its animate emergence to acrobatic life.
Gymnastically adorning so many precious scenes with blithe orchestration and reverberating pith, it fluidly exemplifies perpetual motion with lighthearted irresistible ebullient spirits.
Indeed relationships problematize so much harmless fun when ownership's claimed.
A sincere tragedy no matter the epoch.
Carefree endeavours.
Limitless fun.
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