Rio de Janeiro, 1964. After suffering the end of a love affair, G.H., a sculptress from Copacabana’s artistic elite, decides to clean her apartment by herself, starting with the maid’s room. The day before, the maid had quit. In the room, G.H. faces a huge cockroach that reveals her own horror of the world, a reflection of a society full of prejudice against beings it treats as subordinate. Facing the insect, G.H. descends into an existential Via Crucis. This experience leads to the loss of her identity and makes her question all conventions that imprison females to this day. Based on a novel by Clarice Lispector.

Director’s Vision

Diretor fala de aspectos do seu novo filme

The idea of the end, a diagnosis of the modern narrative in cinema, inaugurates in the character G.H. a new time, where time and space are out of themselves, outside laws and order, outside the field of the world, out of us. 

The experience of passion as a transgressive element makes the old structure of the character and the film itself unsustainable, transforming the narrative into a search for itself between shrapnel, silences, spins, getting out of oneself, and coming back to oneself.

The portrait of Mrs. G.H., drawn in charcoal by the maid Janair in her maid’s room exposes social fissures, moral verdicts, and ancestral civilizations. The flow advances through cinematic narrative genres, which evoke fragments that refer us to a cipher letter. A love letter? A farewell letter from the world? Every passion is a farewell ceremony and at the same time a rebirth.