Swingers

Filipe Manuel Neto 4/9/2024 3:52:56 PM 8.4

**A film about characters and dialogue, made by men and for (some) men.** Watching films with a lot of dialogue allows us, sometimes, to find some very good works in terms of the construction of lines and development of characters. In these films, these elements become the essence that justifies their existence. And we can think of several examples, such as “Before Sunrise”. This film isn't bad either, but it targets a niche audience that I don't find myself in: single men, somewhat bitter and dissatisfied, misogynists and womanizers. I am single, and I feel peacefully satisfied, without a hint of misogyny and never closing doors to love, but also without any despair. And in fact, I haven't set foot in a bar since my college days. As you can see, I'm not the kind of man who could identify with these characters. The plot revolves around three friends, aspiring actors, who seek to make it in challenging Los Angeles. One of them is depressed due to the end of a long-term relationship, and the other two friends decide to take him to bars, to drink and flirt as much as possible. From drink to drink, from one flirtation to another, the conversation between the various characters reveal a lot about themselves, and the way they see the world. It's not a narrative film, it doesn't have a very solid story, but it has good characters and an excellent collection of dialogues. Directed by Doug Liman, the film has simple, but effective and credible cinematography, sets and costumes. Being an independent film, made outside the multimillion-dollar studios, the production had several budget problems that forced practical and functional choices. This may have been positive, allowing for greater verisimilitude and the choice of realistic locations and situations. Being a film so focused on the male mentality, and a world of bars and flirting, it is likely that the female audience would prefer to see something else. Screenwriter and actor John Favreau plays the main character, supported by two longtime friends, Vince Vaughn and Ron Livingstone. Each of them does a good job and explores their character very well, expressing a lot of themselves, which turns these characters into “alter egos” of the actors who play them. This is unusual in cinema, but not unheard of. The film also features the participation of other actors and friends of those involved, in smaller and less well-crafted characters.