Joana is a strong believer living in an officially secular state. She is a believer of her bureaucratic duties, working in an office for people filling for divorce. Being also strongly engaged in ritualistic Christianity, result of a faith that knows no boundaries, she exploits her position to convince couples not to get a divorce and submit to the creator’s will about mating, while she personally seems to have infertility issues, unable to conceive for years.
Brazilian director Gabriel Mascaro, following his marvelous Neon Bull (see:https://cinetalk.net/2016/10/20/boi-neon-brazil-2015/), is back with Divino Amor, a near-future tale of unsettling and concealed complexity. It is visiually colorful on the surface, but it depicts a colorless world where you get drive-through confession with priests as drive-up teller () and store detectors displaying your marital status and other details for everyone to hear.
With fostered ambiguity, leaving audience to its personal reading, purposely not clarifying its own, Divino Amor, unfolds like a thesis on the country’s rising conservatism with deliberate ambivalence in underlining social and political hypocrisy. An allegory on present-day totalitarian abuses.
The more it changes, the more it stays the same.