‘Two Times João Liberada’ Review: A Niche Debut in Portuguese LGBTQ+ Cinema
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Loading... - Archie Bailey
- 03 Mar 2025
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"Two Times João Liberada," the feature debut from Paula Tomás Marques, is an experimental Portuguese LGBTQ+ film that straddles the line between biographical drama and conceptual art piece. The film explores the making of a misguided project about a fictional historical figure, João Liberada, a gender non-conforming shepherdess persecuted by the Inquisition in 18th century Portugal. While the film aims to challenge traditional biopic conventions and patriarchal structures in cinema, its niche appeal may limit its audience.
Marques, known for her short films that delve into themes of gender and sexuality, including the award-winning "In Case Of Fire," brings a unique perspective to the biopic genre. "Two Times João Liberada" critiques the conventions of biographical storytelling by highlighting the subjective nature of historical representation. The film’s narrative revolves around the tensions between João, played by transfemme actress June João, and the film’s director, Diogo (André Tecedeiro), who embodies the pitfalls of cis male entitlement and ignorance.
As João grapples with the film's direction, she voices concerns about its focus on tragedy, particularly a poorly executed suicide sequence that overshadows the radical aspects of Liberada’s life. This conflict serves as a commentary on how historical figures, especially those from marginalized communities, are often portrayed through a lens of suffering rather than celebration.
Despite its ambitious scope, "Two Times João Liberada" is marked by modest production values and unpolished performances, which may detract from its overall impact. The film’s limited budget is evident in its period details and special effects, which, while commendable in ambition, may not resonate with broader audiences. The performances, particularly Tecedeiro’s portrayal of Diogo, can feel one-dimensional, reinforcing the film’s critique of his character as a representation of outdated cinematic tropes.
The film’s narrative is enriched by the presence of the ghost of João Liberada, who provides a modern voice that critiques the film’s direction and the choices made by Diogo. This supernatural element, while somewhat clumsily integrated, serves to emphasize the disconnect between historical representation and contemporary understanding of identity and politics. The ghost’s modern idioms and sharp commentary challenge the notion that historical narratives can be authentically conveyed without acknowledging the biases of the storyteller.
"Two Times João Liberada" is a thought-provoking exploration of the complexities surrounding historical representation, particularly for marginalized figures. While its niche appeal may limit its reach, the film’s ambition to challenge biopic conventions and highlight the importance of celebrating radical lives is commendable. Paula Tomás Marques has crafted a work that invites viewers to reconsider how stories are told and whose voices are amplified in the cinematic landscape. As a debut, it showcases the potential for innovative storytelling within the Portuguese LGBTQ+ film scene, even if it struggles with execution at times.
