Bernardo Zanotta, a young Brazilian director, crafts a spirited and exhilarating queer farce that relies on the pure pleasure of cinematic image making: frame, colors, patterns, bodies. A comical opening, straight out of an 80s erotic film, sets the tone: dialogue at zero level, a plot reduced to a car getaway pitting in shot-reverse shot a frail man, the ideal prey, against a sultry and fatal woman. Shot on 16mm film, INSIEME INSIEME has the charm of its chromo, its colorful characters, its textured and shimmering colors clinging to the lipstick of Cécilia, a languid drag queen who sighs with pleasure on the other end of the line. Actors Lydia Giordano, Gustavo Jahn, and Jun Ortega wander as a trio through the meanders of a cinephile and literary memory. Throughout a story that freely combines quotes (Plato's Phaedo, Laclos's Dangerous Liaisons ) and homages to cinema – Antonioni in particular – Bernardo Zanotta mixes languages ​​(English, French, Italian), eras and motifs taken from different registers (romance, black comedy, slasher, gore film, B-movie, etc.). Libertinage is indeed the driving force of this film, which moves forward, versatile, with jumps in the editing like mood swings, constantly freeing itself from the seriousness of the plot and respect for genres. When it depicts a threesome in the shower, sadistic pleasures, a murder, it in no way gives in to the raw nudity of a voyeuristic frontality. The film indeed claims the artifice of cinema through abrupt interruptions, elliptical framing, and heavy-handed acting that mocks itself. And if INSIEME INSIEME summons the specter of death, it is only to better thwart the tragedy of life in a world of idleness, where the whimsical is still the surest path to pleasure