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From Beginning to End

From Beginning to End (: Do Começo ao Fim) is a written and directed by Aluizio Abranches. The story centers on two half-brothers, and Thomás, whose intense emotional bond from infancy develops into a romantic and sexual relationship in adulthood, framed within a narrative of familial acceptance and personal destiny. Released amid cultural debates on relationships, the film portrays their union as a profound, predestined love transcending conventional boundaries, though it explicitly involves biological between half-siblings. The film's narrative spans decades, beginning with the brothers' birth—Francisco to one mother and Thomás, born minutes later to the same father's different partner—and traces their physical and emotional intimacy through childhood games, adolescent explorations, and adult commitment, culminating in Thomás's death during a swimming competition. Abranches, drawing from personal reflections on love's forms, produced the work independently after initial financing challenges, emphasizing themes of unconditional affection over societal norms. Despite its artistic intent to challenge prohibitions on fraternal love, the depiction of incest drew polarized responses; Brazilian viewers attended in large numbers, yet international critics often highlighted ethical discomforts rather than aesthetic merits, with Rotten Tomatoes aggregating a 44% approval rating from reviewers. Notable for its cinematography evoking emotional immediacy through close-ups and symbolic motifs like shared blood and intertwined bodies, the film screened at LGBTQ+ festivals such as Frameline, where it provoked discussions on relational taboos beyond . Its release marked a rare explicit cinematic exploration of consanguineous romance in , prioritizing sensory experience over didacticism, though absent major awards, its cultural impact persists in conversations about love's biological and social limits.

Synopsis

Plot Summary

The film Do Começo ao Fim (From Beginning to End) chronicles the evolving relationship between two half-brothers, and Thomás, spanning from Thomás's infancy to their adulthood. It opens in a where five-year-old Francisco first encounters his newborn half-brother Thomás, who opens his eyes to gaze at him two weeks later. The brothers grow up in an affluent family characterized by emotional openness and physical affection, with their mother Julieta, a , and stepfather fostering an environment of unconditional love. Francisco's biological father, Pedro, an Argentine, occasionally visits, including a family trip to during . From childhood, and Thomás share an unusually intense bond, engaging in playful and intimate activities such as sleeping entwined and competing in sports, with Thomás excelling as a swimmer. Their parents observe the boys' excessive closeness during but refrain from intervention, viewing it as natural. The narrative emphasizes the family's permissive dynamics, where taboos are downplayed in favor of emotional authenticity. In 2008, following Julieta's death from an unspecified illness, Francisco (aged 27) and Thomás (aged 22) attend her funeral and subsequently live alone in the family home after Alexandre relocates. This loss catalyzes the transformation of their sibling affection into a and sexual , depicted as consensual and passionate. Thomás receives an invitation to train for the Olympics in , prompting to encourage his pursuit of the opportunity despite the impending separation. The brothers experience profound emotional turmoil during this period, with Thomás committing to rigorous training while grapples with personal crisis. concludes affirming their enduring connection, portraying it as a form of transcending societal norms.

Production

Development and Pre-Production

Aluizio Abranches conceived the screenplay for Do Começo ao Fim years prior to production, motivated by a desire to portray an between half-brothers as a manifestation of , integrating the elements of and male into a centered on familial acceptance rather than moral condemnation. Development proved challenging, as prospective financiers repeatedly rejected the project owing to its explicit handling of , with several suggesting narrative modifications—such as reconfiguring the protagonists as cousins or sisters—to render the story less provocative and more commercially viable. Abranches refused these alterations to preserve the story's core premise of fraternal intimacy. The film advanced on a constrained of R$1.8 million, partially funded by Abranches' own resources after only two anonymous donors contributed R$200,000 each, reflecting the scarcity of institutional support for thematically risky independent cinema at the time. Pre-production encountered additional obstacles when a four-minute promotional clip surfaced unauthorized on in May 2009, accumulating over 2,000 views rapidly and provoking early public contention that disrupted the planned controlled rollout for the premiere. Casting emphasized continuity in depicting the protagonists' lifecycle, requiring juvenile performers for early scenes (Gabriel Kaufmann and Lucas Cotrim as young and Tomás) alongside adults (João Gabriel Vasconcellos and ), to underscore the progression from innocent kinship to romantic entanglement.

Filming

Principal photography for From Beginning to End occurred primarily in , , capturing the film's familial and intimate settings against the city's urban and coastal backdrops. Additional scenes were filmed in , , contributing to the narrative's portrayal of the protagonists' later travels and emotional separation. These locations emphasized the story's Brazilian roots while incorporating international elements for thematic depth. The production utilized , employing Aaton XTR Prod and LTR cameras equipped with Ultra Prime lenses, such as the Distagon 10 mm T1.9 wide-angle for establishing shots and interior intimacy. Ulaibiterê Sampaio focused on natural and fluid camera movements to convey psychological closeness, aligning with director Aluizio Abranches' vision of raw emotional realism in the taboo relationship. The shoot spanned multiple iterations for the lead characters—portrayed by child actors Lucas Cotrim and Gabriel Kaufmann as youths, and João Gabriel Vasconcellos and as adults—to depict the timeline from childhood to maturity without relying on extensive makeup or prosthetics. Challenges in filming sensitive incestuous and sexual sequences were managed through closed sets and actor preparation, though specific production logs indicate no major delays from these elements. The independent Brazilian production, backed by Lama Filmes, prioritized efficiency, completing principal photography in a compact schedule typical of mid-budget dramas aiming for festival circuits.

Music and Soundtrack

The soundtrack of Do Começo ao Fim features a curated selection of Brazilian popular songs and adaptations, emphasizing emotional intimacy and melancholy to parallel the film's exploration of familial bonds and forbidden love. André Abujamra is credited with the overall music, contributing original cues alongside licensed tracks that draw from bossa nova, MPB (Música Popular Brasileira), and international influences. Key songs include "O Leãozinho" by , which accompanies tender moments of childhood innocence; "Lágrimas de Diamantes" performed by Paulinho Moska, evoking loss and longing; and an adaptation of Jacques Brel's "" sung by Maria Gadú, heightening scenes of separation and desire. Other notable tracks are "Tango pra Tereza" performed by or Angela Maria, adding a layer of dramatic tension; "Elevador" by André Abujamra himself, integrating experimental elements; "Bilhete no Fim" by Paulinho Moska; "Vidas Inteiras" by ; and "Repare nos Meus Olhos" by , which underscore themes of introspection and relational complexity. No formal commercial soundtrack album was released, though fan-compiled playlists replicate the film's audio landscape using these tracks, reflecting the deliberate choice of pre-existing music to evoke cultural without overshadowing the . The selections prioritize lyrical depth and acoustic intimacy, aligning with Aluizio Abranches' vision of psychological over orchestral bombast.

Cast and Performances

Principal Actors

The lead roles of the half-brothers and Thomás are portrayed across their childhood and adulthood by four actors. João Gabriel Vasconcellos, in his film debut, plays the adult at age 25, depicting the character's introspective and athletic swimmer persona. , also debuting in film, portrays the adult Thomás at age 20, capturing the younger brother's emotional vulnerability and pursuits. The child versions are played by Lucas Cotrim as young and Gabriel Kaufmann as young Thomás, with scenes emphasizing their early bond starting from infancy in 1986. Supporting the central duo are established Brazilian performers in parental roles. Fábio Assunção portrays Alexandre, Francisco's biological father and a teacher who enters a with Julieta, bringing drawn from his prior work in over 30 films and telenovelas since 1996. Júlia Lemmertz plays Julieta, Thomás's mother and a , leveraging her experience from acclaimed roles in films like O Céu de Suely (2006). Jean Pierre Noher appears as , Alexandre's initial partner, while Louise Cardoso embodies , Julieta's mother, adding layers to the family's unconventional dynamics. These performances, filmed primarily in locations, underscore the film's exploration of familial intimacy without relying on non-professional casting for authenticity.

Character Analysis

Francisco, the older half-brother, is introduced as a six-year-old anxiously awaiting Thomás's birth in a maternity ward, establishing his protective role from the outset. As a teenager, he articulates a of , declaring to Thomás, "I’ll never let them put us in a cage," symbolizing resistance to societal norms. In adulthood, portrayed by João Gabriel Vasconcellos, channels his energy into , embodying physical prowess and stoic resilience amid family tragedies, including the death of an and later their Julieta in 2008. His arc culminates in deepening intimacy with Thomás post-Julieta's death, marked by a ritualistic undressing scene that underscores emotional vulnerability beneath his tough exterior, though critics argue this transition lacks convincing dramatic buildup due to abrupt temporal shifts. Thomás, played by Gabriel Kaufmann as a child and as an adult, represents fragility and artistic sensitivity, pursuing despite a that limits his lifespan to 23 years. Their childhood bond, free of typical , evolves seamlessly into physical affection—evident in shared rituals like mutual —without portrayed guilt or hesitation over the . Thomás's from serves as the narrative's tragic endpoint, emphasizing themes of impermanence, yet reviewers note the character's motivations feel defensive and underdeveloped, with dialogues that justify rather than explore the relationship's complexities. Supporting figures reinforce the film's utopian family dynamic. Julieta (Júlia Lemmertz), the shared , perceives the brothers' exceptional closeness early and offers tacit approval, advising they "should not think it is a bad thing," reflecting a permissive maternal influence that persists until her 2008 death, which catalyzes the protagonists' . Stepfather and other relatives provide a backdrop of unconditional support, absent external societal pressures within the home, though this idealization has drawn criticism for rendering characters stereotypical and lacking human nuance. Overall, the principals exhibit strong on-screen that lends credibility to their affection, but the absence of internal psychological —such as or societal friction—results in portrayals deemed artificial and insufficiently realistic by multiple reviewers.

Themes and Motifs

Exploration of Taboo Relationships

The film From Beginning to End centers on the evolving bond between half-brothers and Thomás, portrayed as transitioning from childhood to a consensual and sexual relationship in adulthood. This depiction begins with scenes of the boys sharing intimate physical closeness, such as wrestling and sleeping together, which the narrative frames as an extension of familial love rather than aberration. The relationship culminates in explicit sexual encounters after Thomás reaches age 18, presented without conflict from external societal pressures or internal guilt, emphasizing mutual and emotional fulfillment. Director Aluizio Abranches intentionally avoids dramatizing the elements, opting instead for a normalized portrayal of the brothers' union as a form of unbound by conventional labels. In interviews, Abranches has argued that the relationship sidesteps biological concerns due to the half-sibling dynamic, which reduces procreative risks, and posits it as a construct could reconsider if the parties find happiness: "We create the morals, but why shouldn’t [they] be in a relationship if they are brothers and they are happy?" The family's , including the mother's encouragement of emotional , reinforces this theme, suggesting that inherently transcends relational prohibitions. This exploration challenges cultural norms around by aestheticizing the bond through lush cinematography and a evoking tenderness, contrasting sharply with typical condemnations of such dynamics. Critics have noted the film's "sunny ode" to the , which omits psychological pathologies or long-term relational strains often associated with incestuous ties in empirical studies, such as attachment disruptions or identity confusion. Instead, it posits an idealized where innate affinity overrides , aligning with Abranches' view that societal barriers, including those tied to , should not impede authentic connections. The narrative's lack of resolution through separation or tragedy further underscores a relativistic stance on relational , prioritizing subjective fulfillment over objective harms like genetic or social repercussions.

Family Dynamics and Psychological Realism

The film depicts family dynamics as unusually harmonious and permissive, with the protagonists' , Júlia, and other relatives exhibiting immediate and unwavering support for the brothers' evolving romantic and sexual bond, framing it as an extension of innate familial rather than a . This portrayal underscores a of unhindered by societal or constraints, where within the household fosters growth without conflict or judgment. Such dynamics serve the narrative's exploration of bonds that persist "from beginning to end," prioritizing relational purity over external pressures. Director Aluizio Abranches emphasized the story's foundation in universal ties, stating it is "first and foremost a story," which informs the absence of depicted familial discord or . The brothers' develops amid scenes of collective mourning, shared rituals, and mutual encouragement, suggesting a psychological where affection overrides , with minimal exploration of individual guilt, crises, or relational strain. Critics and observers have noted this depiction's divergence from psychological realism, as empirical studies on intrafamilial reveal typical family responses involving , rupture, protective separation, and long-term rather than endorsement. Incestuous dynamics often perpetuate cycles of dysfunction, with victims experiencing persistent effects like , relational distrust, and deficits, frequently necessitating therapeutic disassembly of enmeshed family systems. The film's idealized acceptance, while artistically cohesive, thus elides causal mechanisms such as the —where proximity in childhood inhibits —and broader evolutionary aversions to , rendering the portrayed more symbolic than veridical.

Release and Distribution

Premiere and Marketing

Do Começo ao Fim premiered at the Mix Brasil Festival of Culture and Sexual Diversity in , , on November 12, 2009. This event marked the film's world debut, targeting audiences interested in LGBTQ+ themes amid its exploration of relationships. The theatrical release followed on November 27, 2009, across , coinciding with heightened public discourse on the film's content. Marketing efforts emphasized the film's provocative narrative of fraternal intimacy, blending elements of homosexuality and incest to generate buzz. The combination of aesthetic appeal—featuring attractive male leads—and inherent controversy drove initial box office interest, with Brazilian audiences responding strongly to the unconventional storyline prior to international screenings. Promotional materials, including trailers, highlighted the emotional depth of the brothers' bond while underscoring its boundary-pushing nature, positioning the film as a bold artistic statement on unrestricted love. Director Aluizio Abranches promoted it through festival appearances and interviews, framing the work as a universal love story unbound by societal labels, though the explicit themes inevitably fueled debate. This approach leveraged organic controversy rather than traditional advertising campaigns, contributing to its visibility in both domestic and festival circuits.

Box Office Performance

Do Começo ao Fim earned a total of $386,049 at the in , its primary market, following its theatrical release on November 27, 2009. The film recorded $31,431 during its opening weekend across 16 screens in December 2009, reflecting limited distribution amid its provocative themes. In international markets, it grossed $14,373 in upon release on July 30, 2010. No significant earnings were reported from major territories such as the , where the film primarily circulated through festivals and limited screenings rather than wide theatrical distribution. Overall, the production's performance remained modest, consistent with its status as an targeting niche audiences.

Reception and Analysis

Critical Responses

Critics offered mixed responses to Do Começo ao Fim (From Beginning to End), with a Tomatometer score of 44% derived from 53 reviews, reflecting divisions over its portrayal of an incestuous relationship between half-brothers as a natural and affirming bond. Variety's review highlighted the film's glossy, telenovela-like and initial strong in , attributing the latter to and visual appeal, but faulted it for treating the taboo "as if it’s completely natural," rendering childhood scenes "just creepy" and performances by Júlia Lemmertz and unconvincing. Film Inquiry critiqued the central romance as "toxic and obsessive," arguing the narrative lacked engagement and depth despite its provocative premise. While some responses acknowledged the director's bold intent to transcend conventional boundaries in exploring familial intimacy, predominant criticisms centered on the script's superficial psychological realism, which glossed over potential harms of incestuous dynamics without substantive causal examination, leading to perceptions of ethical oversimplification.

Audience and Commercial Feedback

Audience reception to From Beginning to End has been polarized, largely attributable to the film's explicit depiction of an incestuous romantic relationship between two brothers, which provoked discomfort and ethical objections from many viewers. On , it maintains a moderate rating of 6.6 out of 10, derived from 8,925 user votes, indicating a generally appraisal among those who watched it. User reviews frequently highlight the film's lush and performances by young actors Vasconcellos and as strengths, yet often qualify praise with reservations about the subject matter's plausibility and moral implications. Rotten Tomatoes reflects similar division, with an audience score of 44% from over 500 ratings. commends the first half's construction and emotional authenticity in exploring forbidden , while negative responses decry the as boring, oversentimental, or endorsing obsessive toxicity, with the family's apparent obliviousness to the brothers' drawing particular ire. Discussions in online forums and reviews underscore this split, with some audiences viewing the story as a bold transcending taboos, and others rejecting it outright as disturbing or unethical. Commercially, experienced limited success, aligning with its and controversial content that deterred broad theatrical uptake. Its debut in drew over 10,000 viewers in the opening weekend, but overall earnings remained modest at approximately $400,422 worldwide, underscoring niche rather than mass-market viability. Subsequent availability on streaming and sustained a , particularly within LGBTQ+ communities, though mainstream commercial feedback emphasized the theme's role in constraining wider profitability.

Controversies

Ethical Debates on Incest Portrayal

The portrayal of a romantic and sexual relationship between half-brothers and Thomás in Do Começo ao Fim (2009) sparked debates over whether such depictions in risk normalizing bonds, potentially eroding societal taboos rooted in genetic risks, psychological dependencies, and cohesion. Director Aluízio Abranches contended that the relationship evades traditional definitions of , emphasizing that the protagonists' shared maleness precludes procreation and thus biological harm, reducing the issue to subjective morals rather than inherent ethical violations. This perspective aligned with the film's narrative, which frames the bond as an unconflicted expression of from infancy to adulthood, devoid of external repercussions or internal guilt. Critics argued that this approach constitutes ethical evasion, as the film sidesteps substantive exploration of incest's causal harms—such as Westermarck-like aversion mechanisms or disruptions to roles—opting for aestheticized tenderness that prioritizes emotional over . reviewers highlighted the work's failure to engage questions, characterizing it as a controversy-driven exercise in that exploits for provocation without . responses echoed concerns of thematic , with some accusing the director of prioritizing visual sensuality over critical depth, potentially desensitizing viewers to familial boundaries. Public discourse divided along lines of artistic liberty versus cultural safeguards, with proponents viewing the non-judgmental lens as a valid probe into affection unbound by convention, while detractors deemed the sunny resolution unrealistic and ethically lax, questioning if positive portrayals could inadvertently validate real-world deviations from evolutionary and social norms against . Supporters of the latter position noted the half-brothers' shared maternal lineage still invokes ethical qualms beyond , including power imbalances from differences and the erosion of . Conversely, affirmative reviews praised the subtlety in downplaying as a "non-issue," attributing this to the film's intent to humanize rather than pathologize the dynamic. These tensions underscore broader cinematic : freedom to depict versus responsibility to contextualize taboos with evidence-based consequences.

Cultural and Moral Criticisms

The film's portrayal of an incestuous relationship between half-brothers and Tomás, depicted as a transcendent and untroubled love from infancy onward, elicited moral criticisms for evading any substantive exploration of the ethical dilemmas inherent in consanguineous bonds. Reviewers argued that director Aluizio Abranches opts for aestheticized over confrontation, presenting the liaison without psychological conflict, familial rupture, or legal repercussions, thereby implying its as a viable form of intimacy. This approach was faulted for sidestepping the real-world harms of , including genetic risks in and the disruption of structures, which Brazilian law prohibits under articles addressing and corruption of minors when involving siblings. Culturally, the clashed with Brazil's predominantly Catholic-influenced values emphasizing familial hierarchy and prohibitions on intra-family sexuality, as enshrined in both and societal norms that view as a profound violation of ties. Critics from conservative perspectives highlighted the film's child-centric framing—depicting intimate acts like kissing between the brothers as young boys (around ages 7 and 12)—as bordering on the endorsement of grooming or pedophilic undertones, absent any narrative condemnation. Such elements fueled accusations of cultural provocation without purpose, contrasting with the film's intent to affirm love beyond conventions, and sparking online debates where the leaked trailer amassed millions of views amid backlash for desecrating sacred bonds. Moral detractors, including some within LGBTQ+ commentary, contended that conflating with dilutes legitimate advocacy for same-sex rights by associating them with universally reviled practices, potentially reinforcing rather than challenging . The absence of repercussions—such as parental or societal —further drew ire for fabricating an idealized , ignoring empirical evidence from psychological studies linking sibling to long-term , identity disorders, and relational dysfunction. Despite the director's claims of universalizing affection, these omissions rendered the work ethically superficial, prioritizing visual sensuality over causal accountability for its boundary-pushing premise.

Legacy and Impact

Awards and Recognition

The film received nominations at the 15th Prêmio Guarani, which honors outstanding Brazilian cinema from 2009, including for Best Director (Aluizio Abranches) and Best Revelation (Francisco Paz de Toledo). It also competed in the Première Brazil section of the 2009 International , where it was nominated for Best Film. These recognitions highlighted the film's technical and performative elements amid its provocative narrative, though it did not win major prizes in broader international circuits.

Influence on Cinema and Discourse

The film Do Começo ao Fim (2009), directed by Aluizio Abranches, has been cited in scholarly analyses of Brazilian and Latin American cinema for its unconventional depiction of adolescent same-sex romance intertwined with incest between half-brothers, setting it apart from prevailing narratives that typically avoid such familial taboos within affluent settings. This portrayal challenges traditional constructs of masculinity by presenting emotional vulnerability and physical intimacy as normalized within a supportive family environment, contributing to broader discussions on non-normative male subjectivities in contemporary Brazilian films. Academic works, such as those in Cinemas of Boyhood: Masculinity, Sexuality, Nationality, position the film as a key example of queer utopianism in cinema, where adult intervention is minimized to emphasize youthful autonomy in relational dynamics. In terms of cinematic legacy, the film's integration of as a central, non-pathologized element influenced subsequent explorations of boundary-pushing intimacies, as evidenced by its frequent referencing alongside other titles like Hoje Eu Quero Voltar Sozinho (2014) in studies of evolving representations of and family structures. However, its impact remains niche, primarily within arthouse and LGBTQ+-focused circuits rather than mainstream production, due to the polarizing of its themes limiting broader emulation. On public discourse, the film ignited pre-release controversy in Brazilian media, with outlets like reporting backlash over its incestuous content, framing it as a provocative test of societal tolerances for fictionalized relationships. This sparked debates on the ethics of normalizing consanguineous bonds, particularly in contexts, with international coverage questioning whether the romanticizes dysfunction or humanizes innate attractions beyond legal or moral prohibitions. Such discussions extended to cultural critiques of family as a site of erotic potential, influencing conversations on and in media, though often critiqued for aestheticizing potentially harmful dynamics without sufficient causal examination of long-term relational outcomes.

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