Daniel Ribeiro’s Perfect Endings is a Brazilian gay rom-com about what happens after the break-up of a long-term relationship. João (played by Artur Volpi) is a struggling filmmaker recently out of a ten-year relationship, swiping and stumbling his way back onto the dating scene, in search of love again. As he meets different men and moves through awkward and tender encounters, he also begins working on an autobiographical movie script…
The film blends familiar rom-com tropes – straight and gay alike – and offers a fairly fresh portrayal of 2020s app-based dating. As in Andrew Haigh’s Weekend (2011), brief encounters take on surprising emotional depth, pushing João to question who he is and what he needs. There are several twists around open relationships and voyeurism, and João’s professional detour into porn filmmaking nicely sidesteps the usual career-fulfillment redemption arc – an unexpectedly frank and refreshing choice
But despite its potential, Perfect Endings fails to deliver a truly authentic or emotionally resonant portrayal of what it sets out to explore. For a story about post-breakup reckoning, and relationship-grief often feels thinly sketched, and its view of the gay scene – with sex-positive couples and open-relationship dynamics – remains disappointingly safe and normative. Sex is on screen, yet sanitized, almost vanilla, far from the daring energy of a queer, sex-positive movie like Sebastián Silva’s Rotting in the Sun. The screenplay leans on clichés, and the cast struggles to generate real stakes.
Volpi’s undeniable charm and charisma goes a long way. He’s engaging throughout, and his closing surrender to love genuinely lands. The cinematography is solid, too, bathing the story in a warm, romantic gloss, and the film smartly spotlights the role of friendship as chosen family and emotional support. Even with uneven writing, it’s a sweet, entertaining watch that makes it easy to root for João’s second chance at love.
What’s missing is bite. The Brazilian setting rarely feels integral; more generic backdrop than lifeblood. In the end, Perfect Endings is a cozy, easy-to-watch Sunday-afternoon rom-com: pleasant, occasionally surprising, but ultimately a missed opportunity within contemporary queer cinema – full of potential it never quite realizes.
Why should public libraries add this gay drama to their shelves?
Perfect Endings is an interesting, contemporary depiction of app-era dating life and non-heteronormative relationships, which can encourage conversations about the many shapes love can take. For public libraries, it’s a timely addition that can support discussions around inclusivity, mental health, and the evolving language of relationships—especially within LGBTQ+ communities.
Is this gay drama a good fit for campus screenings?
Yes. Perfect Endings lends itself well to campus film programs focused on gender studies, queer cinema, or contemporary media culture. The film’s candid treatment of sex, consent, and emotional growth offers strong discussion material for college audiences navigating similar themes in their own lives. While not as provocative as some recent queer dramas, its open portrayal of dating, vulnerability, and artistic ambition makes it an approachable and debate-ready film for 2025 screenings, particularly in courses or clubs exploring representation and modern romance in film.
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