The film is, throughout, seductive, charming and sexy, much like Irving herself, in the film and in person. Originally, I was to meet with both Irving and Baretto. But, coming to the end of a whirlwind press tour of the US, both found themselves a bit under the weather, and as Irving was the less sick of the pair, she sent Baretto home, and finished their press obligations alone. My initial disappointment at not being able to speak with Baretto was quickly forgotten as I met Irving, who, nursing a cold in sleek black leather pants and stack heel boots, held forth on love, marriage and raising two boys, and on the difficulties and pleasures of cross-cultural relationships personally, politically, and professionally. The visions of love and Rio offered by Bossa Nova and influenced by Jobim and Truffaut, are largely concerned with notions of style and elegance, topics that clearly are important in Irving and Baretto's relationship.
Elegance is something that Bruno is obsessed with.
I mean, he is outraged by the way that people go on airplanes. There was a time when people dressed to travel, and he has an elegance to him, he likes style. He wanted to make a film in which the love affairs had style, and glamour, and also to show that a couple over 40 could still have style and elegance and sexuality. For Bruno's birthday this year, I had his first tailored suit made for him. I have never seen him so happy.