We Still Have the Deep Black Night: the story told in Gustavo Galvão’s drama, of a musician who doesn’t feel rewarded for her art in her hometown and feels forced to relocate, has some meat to its bones. However, the director chose to cast musicians in the main roles; since music is so essential to the characters, it makes sense to have the musical performances be believable, but the acting he gets is, for the most part, indifferent at best and atrocious most of the time. Ayla Gresta is ferocious when she is singing and playing her trumpet, but she is unable to inject much emotion into her performance as the protagonist. Gustavo Halfeld, her on-and-off partner in life and music, is even weaker. The original music is essential as a form of expression by the characters and its very specific sound may or may be appealing. Beautiful title, incidentally.