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Motel Destino

Thriller · Drama

Motel Destino

6.7(67) 8/22/2024 1h 55m
ThrillerDramaRomance

Motel Destino, a sex hotel in Northern Brazil, is run by the hot-headed Elias and his restless wife, Dayana. When a young gang member on the run named Heraldo stays at the motel, Dayana becomes intrigued with him. As the two navigate a dance of power and desire, a dangerous plan for freedom emerges.

Part of the Ceará Collection
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Top Cast

Iago Xavier

Iago Xavier

Heraldo

Nataly Rocha

Nataly Rocha

Dayana

Fábio Assunção

Fábio Assunção

Elias

Renan Capivara

Renan Capivara

Jorge

Fabíola Líper

Fabíola Líper

Bambina

Isabela Catão

Isabela Catão

Marta

Yuri Yamamoto

Yuri Yamamoto

Môco

David Santos

David Santos

Rafael

Directed by

Karim Aïnouz

Production

Reviews

CinemaSerf

6/10

3/2/2025

Twenty year old “Heraldo” (Iago Xavier) is hoping to leave his seaside Brazilian home and head to São Paolo and make a fresh start. Thing is, his elder brother “Jorge” (Renan Capivara) and he owe the local queenpin “Bambina” (Fabiola Liper) one last favour. “Heraldo” goes out and gets laid in the town’s knocking-shop-cum-motel and awakens to discover that his brother tried to do the job en seul and, well now the young man has to find somewhere to hide. Fortunately, he made a bit of an impression at the motel with it’s owner “Dayana” (Nataly Rocha) and so she agrees to shelter him whilst her brutish and frequently drunk husband “Elias” (Fâbio Assunção) lets him do odd jobs. From here on in, you can probably guess what happens and that’s not without it’s just deserts and irony. There’s some

Brent Marchant

6/10

1/25/2026

They say sex sells, and that’s certainly true for this film noir erotic thriller from Brazil in which passionate stirrings pervade virtually every aspect of the narrative. In this latest offering from writer-director Karim Aïnouz, the filmmaker tells a story largely cut from the same cloth as “The Postman Always Rings Twice” (1946, 1981) but with supercharged volumes of high-octane sexuality splashed all over it. There’s nothing inherently wrong with that other than the fact that this is about all the picture has to offer. Indeed, the primary storyline here is otherwise so thin that it’s practically incidental to the rest of the production, a vehicle for limply carrying the underdeveloped plot forward (arguably the only thing limp about it). Essentially, this release follows the misadventu

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