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The film’s legacy—and its major point of contention—is its depiction of a child’s sexual initiation at the hands of adult women. While Khouri’s intent is clearly to critique a corrupt, patriarchal system (the absent politician, the commodified women, the disposable boy), the camera’s lingering gaze on the 12-year-old actor is deeply problematic. No matter the artistic framing, you are watching a minor in simulated sexual situations. For many viewers, this will be an insurmountable barrier, rendering the film's themes exploitative regardless of intent.
You are a serious student of erotic cinema, Brazilian history, or transgressive art, and you can separate the director's thematic intent from the uncomfortable on-screen reality. Skip it if: The depiction of childhood sexuality in any context is a hard boundary for you. love strange love 1982
Love Strange Love is not an easy film to watch, nor is it one you will quickly forget. Directed by Brazilian auteur Walter Hugo Khouri, this erotic drama sits squarely in the territory of "difficult cinema"—a fever dream of sexual awakening, political darkness, and psychological manipulation, all framed through the hazy, humid lens of repressed memory. The film’s legacy—and its major point of contention—is
Love Strange Love is a genuine cinematic artifact—a bold, transgressive piece of Brazilian arthouse that dares to look at the ugliest corners of power and desire. It is not a "good time" but a valid, disturbing historical document of a particular filmmaker’s obsessions. Approach with extreme caution, and be prepared to grapple with its ethical ambiguity. It is a film to be studied and debated, not enjoyed. For many viewers, this will be an insurmountable
Rating: ★★★☆☆ (3.5/5)
The film’s greatest strength is its oppressive, dreamlike atmosphere. Khouri shoots the mansion like a character itself—high ceilings, long shadows, suffocating heat. The cinematography lingers on details: a sweaty glass, a half-open robe, the reflection of a child’s scared face in a mirror. This is a world where time stands still, and morality is a forgotten guest.
Vera Fischer as Laura is a revelation. She moves between maternal warmth and predatory hunger with a fragility that is genuinely unnerving. Her performance refuses to let the audience settle on her as either a victim or a villain. She is simply a product of her own cage. The infamous scenes of sensuality are not played for titillation but for discomfort, emphasizing the power imbalance and the boy’s confused, non-verbal reactions.