Todas as Canções de Amor: in an elegant chamber piece, Joana Mariani beautifully explores the power of music to tap into emotions. The film, for all practical purposes, happens outside of time and place; that transforms the narrative of two love (so to say) stories into a universal look at how relationships unfurl. The way the film is conceived, with matching shots and matching edits, deepens that even further as it intertwines the stories. The conductive thread to the story is the exceptionally well-chosen list of songs, both thematically (understanding the lyrics is of great importance) and aesthetically. Luiza Mariani and Júlio Andrade play incredibly well off each other, as a couple that is already too tired and prefer to prick each other; Marina Ruy Barbosa uses her youth and ethereal beauty to fuel her curiosity and innocence; Bruno Gagliasso, however, is the weak link in the chain, compounding the fact that his character is the least appealing of the four. Cinematographer Gustavo Hadba finds many interesting frames; even thought the film takes place for the most part in a single location (a good-looking apartment that goes through two transformations), it never feels visually restricted by the space. Editor Leticia Giffoni moves between the two timelines with great ease and grace.