Private Desert

Buoyed by two superb performances, writer-director Aly Muritiba’s tenderly electrifying new feature is part sensual queer romance and part moving character study.

Couple the brilliant construction with the intense performances from Saboia and Fasanaro, and we have one of the more memorable foreign romance films in recent memory.

So many scenes unfold with static frames to give actors our undivided attention, letting them evolve emotionally without unnecessary cuts undermining authenticity.

The film comes alive in its second half, which deepens and complicates the story we thought we were watching, about a disgraced cop trying to run away from the violence that’s set to cost him his job and his reputation. For some, the tender empathy that runs through the film’s latter half may not be enough to offset its choice of sympathetic leading man.

Aly Muritiba’s film is always telling the viewer that death-ness and trans-ness bear the intimacy of Siamese sisters.

Director and co-writer Aly Muritiba’s melodrama is slow — 29 minute-long PROLOGUE slow — formulaic, dated and obvious considering “The Crying Game” opened 30 years ago north of the equator. But tender performances might reward those patient enough to sit through its scenic, formulaic and dramatically-limited longueurs.

Nothing about the interactions between Daniel and his former pen pal in the second half of the movie are even remotely believable, and so the rosy climax of Private Desert enters the dangerous realm of fantasy and wish-fulfillment, revealing that the makers of this film are as recklessly naïve and morally questionable as their protagonists.