Cláudio (Ivo Canelas) is a cis man who has an unusual attraction/fetish in Ary Zara’s, An Avocado Pit. Travestis is the term used in the Oscar-qualifying 19 minute Portuguese short, and he is understandably reluctant to come clean – especially with himself. So the everyman sets up across the street where a transwoman named Larissa (Gaya Medeiros) peddles her game as a prostitute, and what follows sounds like something that is outside the amorous norms that we are used to. Nope, the unraveling of this love story couldn’t be more ordinary, and if viewers have a pulse, they will definitely elevate to a beat that is familiar as any in the genre.
On the streets of Lisbon, the ho-hum baseline of the film is established. Larissa is on her bike and doesn’t seem to be in any particular rush to get home. Dressed in denim and a casual spring jacket, she’s enjoying the evening sights, and we can easily see ourselves taking a European sojourn from our crazy, busy lives.
Arriving, the sentiment continues, and Larissa’s contentment is enhanced by the simple surroundings and the caring people she shares her space with. Unclear as to their identity, we get our first close up.
A woman it appears at first glance, if you didn’t know the subject matter, the impression would hold up. But as the plot reveals, the viewer can see the hints. Either way, when she’s suddenly clad in her streetwalker clothes, the events now come across more darkly.
Larissa doesn’t seem to mind, though. So why should we?
Still, as she rolls up to the street corner with her the trans co-workers coming into view, the way Larissa carries herself as a sex worker introduces an unavoidable sleaze to the setting. Of course, the lonely darkened streets, the gaudy outfits and excessive makeup piles on the underbelly. But the lighting focuses us on their faces and implies that these ladies refuse to succumb to their less than typical circumstances.
No doubt, the optimism includes Larissa, and her first real dialogue continues the reset. She’s witty and insightful, and Medeiros makes us believe with her confident delivery.
So when it’s revealed that she’s also a romantic, it’s not so far-fetched. Meaning this “hooker” has no problem believing that someday a boyfriend might emerge on a walk that she takes in stride.
Even so, Larissa still has a head for business, and Cláudio lurking back in want, she takes the initiative. She enters his car, and Ivo Canelas meets the abrupt introduction like he just got caught with his hand in the cookie jar.
A feeling we all know, Canelas still exudes an obstinate state of denial and is insistent in refusing to satisfy his curiosity. No such luck, Larissa is an old pro and understands the conflicting forces that Canelas is emoting for his character.
“I just need a ride up the street,” she counters his rejection. So Cláudio relents, and the games begin.
Well, that’s what another walker might do. Larissa is a person first, and her aforementioned people skills utilizes a directness and empathy that allows Cláudio to realize he is one too.
Thus, Cláudio’s walls come down, and his surrender is casually signaled by a little smirk and a knowing nod. The character unburdened now, a real courtship begins, and maybe Larissa’s silly notions of love aren’t so crazy. The blink of the eye, Medeiros confirms the possibility, and adding a score (Xinobi) that seems to race and expand with expectation, we can’t help swoon along.
So easy, the film doesn’t forget to give the viewer a dose of reality. Cláudio and Larissa are both on new ground, and the learning curve will either have them running for cover or rising above their ignorance.
Sound familiar? It should. A journey we all make, so just hold on and enjoy the ride with Cláudio and Larissa. You won’t be disappointed.
