Cinema usually plays it safe. You know the drill—boy meets girl, boy loses girl, boy gets girl back while some pop song swells in the background. But then there’s From Beginning to End (originally Do Começo ao Fim), the 2009 Brazilian film directed by Aluizio Abranches that basically threw the rulebook into a woodchipper. If you haven't seen it, you’ve likely seen the screenshots. They’re everywhere on Tumblr and Pinterest because the movie is, quite frankly, gorgeous. But looking past the aesthetic, this movie tackles a subject that makes most people flinch: a lifelong, romantic, and deeply committed relationship between two half-brothers.
It’s a wild swing. Honestly, most directors would turn this into a dark, gritty tragedy or a psychological horror show about "forbidden" urges. Abranches didn't do that. He made a movie that feels like a warm blanket, which is exactly why it’s so polarizing.
The Story of Francisco and Thomás
The film doesn't start with the controversy. It starts with childhood. We meet Francisco and Thomás as kids, and the bond is already intense. It’s a literal "from beginning to end" kind of deal. They share a mother, Julieta, played by the late, great Fábio Assunção and Júlia Lemmertz. Julieta is the heart of the first act. She sees their closeness—a closeness that clearly transcends typical sibling rivalry or play—and she doesn't squash it. She nurtures it.
The cinematography is sun-drenched. Everything is gold and blue. You’re watching these kids grow up in a home that feels like a sanctuary from the judgment of the outside world. It’s almost dreamlike. When the movie time-jumps to their adulthood, the transition is seamless. Francisco is now a doctor (played by João Gabriel Vasconcellos) and Thomás is a competitive swimmer (played by Rafael Cardoso). Their relationship has evolved from inseparable childhood companions into a full-blown romantic and sexual partnership.
Breaking the Taboo Without the Trauma
What really trips people up about From Beginning to End is the lack of guilt. In almost every other piece of media dealing with incest, there is a "discovery" moment followed by 90 minutes of crying, self-loathing, or external persecution. Not here.
The characters aren't tormented by what they’re doing. They just... are. They live together. They support each other’s careers. When Thomás has to move to Russia for several months to train for the Olympics, the drama isn't about their blood relation; it’s the standard drama of a long-distance relationship. The pain is the distance, not the DNA.
Why the Critics Went Nuclear
Critics were divided. Some called it a brave exploration of unconditional love. Others found it deeply irresponsible or "glossy" to the point of being unrealistic.
👉 See also: Christopher McDonald in Lemonade Mouth: Why This Villain Still Works
The late Roger Ebert didn't review this one, but many contemporary critics felt the film was "incest-lite." Because the brothers are so handsome, the house is so beautiful, and the music is so swell-y, some argued that the movie was trying to "beautify" a social taboo rather than interrogate it. It’s a valid point of view. If the characters were messy, unattractive, or lived in a basement, would the audience still be on board? Probably not.
But that’s the trick of the movie. It’s a fantasy.
The Visual Language of Aluizio Abranches
Abranches used a specific color palette to tell the story. You’ll notice that as the boys grow up, the colors shift from the warm, hazy yellows of childhood to the cooler, crisper blues of adulthood. This wasn't accidental. It represents the "crystallization" of their bond. It’s no longer a fuzzy childhood feeling; it’s a cold, hard fact of their lives.
The swimming sequences are also a huge part of the film's DNA. Water is a recurring motif. It’s fluid, it’s encompassing, and it’s where Thomás feels most free. The scenes where Francisco watches Thomás swim are some of the most intimate in the film, and they don't even involve them touching. It’s all in the gaze.
The Role of the Family
We have to talk about the parents. Usually, in these types of stories, the parents are the antagonists. In From Beginning to End, the mother is the facilitator. She tells them, "Love each other, always." She basically gives them a hall pass for life.
Is it realistic? No. Is it fascinating? Absolutely. It turns the "coming out" trope on its head because there’s no one to come out to who doesn't already know and approve. This creates a strange vacuum where the only conflict is the internal struggle of being away from the person you love.
✨ Don't miss: Christian Bale as Bruce Wayne: Why His Performance Still Holds Up in 2026
Impact on Brazilian Queer Cinema
Brazil has a complicated relationship with LGBTQ+ cinema. On one hand, you have massive, vibrant Pride parades and a huge culture of art; on the other, it’s a deeply religious and often conservative country.
From Beginning to End was a massive hit in the "pink money" circuit. It traveled to film festivals in Seattle, San Francisco, and Berlin. It became a cult classic not just because of its subject matter, but because it looked like a high-budget Hollywood romance while being a small-budget independent Brazilian film. It proved there was an audience for stories that didn't end in a funeral or a jail cell.
Common Misconceptions About the Film
People often go into this movie expecting a thriller. They think there’s going to be a "twist" or a "reveal." There isn't.
- "It’s a tragedy." Nope. It’s a romance.
- "They get caught." The movie doesn't really care about the world "catching" them. It stays inside their bubble.
- "It’s pornographic." While there are sex scenes, they are filmed with the same "prestige" lens as a Nicholas Sparks movie. It’s more about the emotion than the mechanics.
The film focuses on the longevity of the bond. The title isn't just a catchy phrase; it’s the literal structure of the narrative. From the moment Thomás is born to the final frame, they are the only two people who truly matter to each other.
How to Watch It Today
Tracking down the film can be a bit of a hunt depending on your region. It’s frequently cycled through platforms like MUBI or Kanopy (which you can usually get for free through your local library). If you’re looking for a physical copy, the DVD imports from Brazil often have the best behind-the-scenes features, including interviews with Rafael Cardoso, who went on to become a massive soap opera star in Brazil.
Watching it in 2026 feels different than it did in 2009. We’re in an era of "extreme" cinema now, where nothing seems to shock us. Yet, this quiet, pretty movie about two brothers who love each other still managed to get banned in several countries and continues to spark 3-hour long debates on Reddit.
🔗 Read more: Chris Robinson and The Bold and the Beautiful: What Really Happened to Jack Hamilton
What You Can Do Next
If you’re interested in exploring the themes of this movie further, there are a few ways to dive deeper without just re-watching the trailer for the tenth time.
First, look into the filmography of Aluizio Abranches. His style is consistent—he loves high-contrast visuals and stories about unconventional families. Watching his earlier work like The Glass House (1999) gives you a better sense of how he evolved into the director who could pull off a movie like this.
Second, compare it to the source of its most frequent comparisons: Call Me By Your Name. While the subject matter is different, the "aesthetic of longing" is nearly identical. Seeing how the two films handle the concept of "paradise" (Italy vs. Brazil) offers a great look at how location becomes a character in queer cinema.
Lastly, check out the soundtrack. The music is an essential pillar of the experience, featuring tracks that anchor the emotional weight of the time skips. It’s the kind of music that makes you feel nostalgic for a life you never lived.
The movie is a provocation wrapped in a silk ribbon. It asks if love is truly "all you need," even when that love breaks the most fundamental rules of society. Whether you find it beautiful or deeply uncomfortable, you won't forget it. That's more than most movies can say.