The Mad World of Marital Relationships

Review of the Short Film Boiling Over

In the realm of short films, what matters most is that the story, which serves as the foundation for the screenplay, is suitable for being told within the confines of a brief runtime. The element of time and the duration of the work play a critical role in defining the essence of a short film. We’ve all seen short films where the story would have been better suited for a medium-length feature or could have been expanded into a full-length cinematic work with some additions. Conversely, we’ve encountered short films where the story fits the short format but lacks the element of surprise or a satisfying conclusion typical of the genre. In the first case, we deal with films that, due to an unsuitable time frame, force the writer to compress a large amount of information or omit critical details. By condensing or eliminating information and characters essential to telling the story accurately, the screenplay often feels incomplete, especially when constrained by the time limitations of a short film. It’s crucial for the director to understand, before selecting a screenplay, what kind of story and scale are appropriate for a short film. In the second case, it’s equally important for the director to determine whether the chosen story has the element of surprise characteristic of short films. A short film must always culminate in a surprising twist, a unique resolution, an engaging endpoint, a significant event, or at least an unexpected climax.

Kiko Vianello as Husband

In the short film Boiling Over, we encounter an intriguing and noteworthy example of an ideal short film that successfully meets nearly all the criteria for a well-crafted short screenplay. First and foremost, like any good short film, Boiling Over features only two characters. Each additional character a screenwriter introduces limits the filmmaker’s ability to fully develop the other characters, leaving less time to explore the relationships between them. In the eleven-minute runtime of Boiling Over, we meet a couple—a man and a woman who have been living together for years. The film takes us into their lives on a beautiful morning as they sit at the kitchen table after breakfast. Another critical aspect, which aspiring short filmmakers should note, is the importance of location. The number of locations in which the story unfolds is just as significant as the number of characters—perhaps even more so at times. When a short film requires shooting in five or six different locations, it not only multiplies the production challenges but also divides the time available to depict each setting. In Boiling Over, the screenwriter limits the story not only to the couple’s house but specifically to their kitchen, where the entire film takes place. This demonstrates the screenwriter’s intelligence and attention to detail, which contribute to creating a memorable and compelling work. Paulo Miranda, the screenwriter and director of Boiling Over, understood that in a short film, minimalism in thinking, writing, and filmmaking is paramount. Thus, he confines the story to a middle-aged couple in their kitchen, aligning the real-time duration of the events closely with the film’s runtime. Except for a few moments omitted for the sake of pacing, the events unfold in near real-time. This key feature simplifies many fundamental logistical challenges for the filmmaker.

Nathalia Lorda As Wife

However, it’s worth noting that limiting the story to one location, two characters, and real-time duration imposes significant and impactful constraints on the execution. This is a situation where, if the filmmaker succeeds, the result can be extraordinary, but failure can lead to a significant setback. The film’s central premise begins with a single sentence: the wife asks the husband, “Should we get a divorce?” This strange and unexpected question, posed in the calm and ordinary setting of a beautiful morning, delivers the first jolt to the audience. Let’s not forget that creating comedy is far more challenging than making a dramatic film. One of the difficulties in comedy is writing dialogue. In comedy, it’s critical for the writer to maintain the impact of the dialogue, and here, from the very start, we witness the power of well-crafted lines. In a short film, the opening dialogue is always crucial—it either captures the audience’s attention and draws them into the story or risks losing their interest. Boiling Over introduces the couple’s bizarre situation so effectively that the audience accepts and believes everything. We believe, especially since this is a comedy, that this couple might suddenly decide to part ways

Director Paulo Miranda

and, lacking a justifiable reason to explain to others, turn to the internet to search for reasons for their divorce. While the film maintains a comedic tone and becomes genuinely funny at times, it stems from a situation that is both humorous and serious, rooted in real life: couples who have lived together for years may, at some point, contemplate the possibility of separation. This fleeting moment, perhaps entertained only briefly in their imaginations, is likely something both characters in the film have considered. The comedic tone allows us to imagine that what we’re seeing is unfolding in the minds of the characters—a product of their fantasies about what it would be like to divorce. Everything that follows this decision—searching for reasons for the divorce, dividing household items, or discussing gym membership fees—could all be happening in their minds. It’s as if, in the context of divorce, the only things that matter are these practical details, not the emotional weight of the act itself. Thus, all these events could be playing out in the characters’ imaginations, as the emotional weight remains concealed. It feels as though the only “real” moment in the film is the calm before the first dialogue, and everything that follows is a glimpse into the couple’s minds.

Another key strength of Boiling Over is its attention to maintaining rhythm and handling the confined setting, as well as its overall direction. As mentioned earlier, any misstep in execution could turn the limited setting into a liability. A confined space, if not thoughtfully handled, can quickly become tedious and monotonous. However, with the help of cinematographer Thiago Fischer, Paulo Miranda manages to deliver a comprehensive yet understated portrayal of the enclosed kitchen environment. Their focus remains on the characters, who, in this confined space, reveal their innermost thoughts, concerns, and desires.

The performances by Nathalia Lorda as the wife and Kiko Vianello as the husband are perfectly aligned with the film’s approach, its comedic tone, and its subtly surreal atmosphere, making their characters entirely believable. The convincing performances, combined with precise and unobtrusive editing, an engaging premise that keeps the viewer hooked until the end, and the film’s gentle comedic tone, all work together to make Boiling Over a captivating and enjoyable film that warrants multiple viewings. With each rewatch, viewers can uncover new layers of its skillful execution and appreciate different aspects of its craftsmanship. Initially, the standout performances draw us in, but subsequent viewings reveal the meticulous details and nuances that the director has carefully incorporated to create a film that is both wild and logical, humorous and memorable.