Henrique Arruda

Não recomendado para menores de 14 Anos
Viewer's Discretion - Not recommended for children under 14 years Violence; Nudity; Sexual content; Sex

Henrique Arruda

Os Últimos Românticos do Mundo
2020, 22min, BR
Não recomendado para menores de 14 Anos
Viewer's Discretion - Not recommended for children under 14 years Violence; Nudity; Sexual content; Sex

Henrique Arruda

Os Últimos Românticos do Mundo
2020, 22min, BR
Não recomendado para menores de 14 Anos
Viewer's Discretion - Not recommended for children under 14 years Violence; Nudity; Sexual content; Sex
Os Últimos Românticos do Mundo
Os Últimos Românticos do Mundo
2050. The world as we know it is about to be ended by a pink cloud. Far away from the urban chaos, Pedro and Miguel seek only eternity.


Production Company: Filmes de Marte, Tarrafa Produtora and Portela Produções 
Directed by: Henrique Arruda 
Produced by: Anna Andrade  
Executive Producer: Anna Andrade and Adriano Portela 
Director of Photography: Breno César 
Director of Art: Carlota Pereira 
Som: Catharine Pimentel 
Mixagem: Mago de Andrade
Montage by: Sylara Silvério 
Cast: Mateus Maia (Miguel), Carlos Eduardo Ferraz (Pedro / Magexy),  Gilberto Brito (Pedro / Magexy), Sóstenes Fonseca (Miguel), Sharlene Esse (Cindy Vina), Raquel Simpson (Leila), Odilex Lins (Lunática), Suelanny Carvalho (Lunática) and Andreia Valois (Lunática)
Written by: Henrique Arruda

1º Cindie Festival – Best Movie
​​​​​​3º Curta Caicó – Critics Award and Best Movie (Mostra Diversidade)
13º Curta Taquary – Best Costume Design, Best Film by the Popular Jury and Critics Award (Mostra Diversidade)
14º For Rainbow – Festival de Cinema e Cultura da Diversidade Sexual e de Gênero de Fortaleza – Best Direction and Best Art Direction
15º Shorts México – Favorite Program
16º Cinefest Gato Preto – Best Art Direction
5º DIGO - Festival de Cinema da Diversidade Sexual e de Gênero de Goiás – Best Direction and Best Screenplay
8ª Mostra de Cinema de Iguatu – Best Movie (Mostra Nordeste) 
8º FRAPA 2020 - Festival de Roteiro Audiovisual de Porto Alegre – Best Title
9º Curta Brasília – Cine França Brasil Prize
Mostra de Cinema Contemporâneo do Nordeste – Best Film by the Popular Jury
8ª Mostra de Cinema de Iguatu – Best Art Direction
1º CineQuarentena
2ª Antropokaos – Mostra de Ficção Científica Brasileira
2º Cine Arcoverde
3ª Mostra de Cinema Contemporâneo do Nordeste
3º Cine Queer - Festival de Filmes e Cultura Queer de Natal
10º Circuito Penedo de Cinema 2020 
13ª MOSCA 
13º Beijing Queer Film Festival – Love Queer Cinema Week (CHINA) 
14º Cine Esquema Novo 
15º SHORTS MÉXICO – Festival Internacional de Cortometrajes de México
17º  IndieLisboa (Portugal)
22º Fest Curtas BH 
23ª Mostra de Cinema de Tiradentes 
28º MIX BRASIL de Cultura e Diversidade 
39º Uppsala Short Film Festival (Suécia)  
4º Encontro de Cinema dos Sertões
9º Olhar de Cinema – Festival Internacional de Cinema de Curitiba 
Cine 104 BH 
Lift-Off Global Network Sessions 2020 - (Inglaterra) 
Mostra Audiovisual de Cambuquira 
Mostra Cinema do Presente 
Mostra Competitiva Nordeste de Curta-metragem
Mostra LGBT+
Mostra Nordeste
Pajubá - Festival de Cinema LGBTI+ do Rio de Janeiro 
RECIFEST ON LINE - Festival de Diversidade Sexual e de Gênero do Recife 



Foto: Sylara Silvério

Screenwriter, Director, Production Designer, Producer and Editor, Henrique Arruda works with cinema since 2015. Graduated in Journalism, at Federal University of Rio Grande do Norte - UFRN, and born in Recife, Brazil, he has three short films on his filmography, the last one is the “queer-fi dystopia” The last Romantics of the world (Os Últimos Românticos do Mundo), released on 2020 during the 23rd “Mostra de Cinema de Tiradentes”, and with a European debut at the 17th IndieLisboa.


Ainda Não Lhe Fiz Uma Canção de Amor - (2015, 16min)
Verde Limão - (2018, 17 min)


Instagram of visual artist "Laura Pascoal", responsible for creating Pedro's notebook in the film, and our special poster "AMEM-SE”

Instagram by illustrator Lio Nóbrega, creator of the official movie poster

8 perguntas para Henrique Arruda


Pink has always meant a whirlwind of emotions to me. Ever since I was a child, I never understood very well how a color could carry so many restrictions and judgments that apparently are still far from reaching the end. Over time, this color became an armor, and as I became a teenager, it definitely turned into a place where I ran every time I felt in trouble, that I felt silenced by the effeminate voice, by the feminine references, by the tastes that passed away from those that were already determined for me from the moment I was born. A pink world, full of clichés, and nostalgic imaginaries where I know I will always live. Five years went by between coming and going to present this place to the world and thus be able to bring more people like me to inhabit this universe, into this cloud of love in its most clichéd form. Five years went by, from the first letters in a pink notebook, to the beginning of the circulation of the film. And the journey continues alongside Pedro, Miguel and so many others.


“Os Últimos Românticos do Mundo” Premiére


“Fan art” made during Mix Brasil 


Henrique Arruda at the Podcast “Um dia depois do Fim do Mundo"


Henrique Arruda playlist during the creation of the screenplay of  “Os Últimos Românticos do Mundo”


CRITIC by Francisco Carbone - Cenas de Cinema


CRITIC by Samantha Brasil - Cineclube Delas


Song “Desvario”, inspired in the movie, by Luiz Amaro



Verde Limão (2018) by Henrique Arruda 

Verde Limão commented by Henrique Arruda


Ainda Não Lhe Fiz Uma Canção de Amor, by Henrique Arruda 




Telephone, by Lady Gaga 

Stupid Love, by Lady Gaga

Total Eclipse of The Heart, by Bonnie Tyler


Ânsia, by Banda Brega.com 


Arco Íris, by Xuxa

Doce Mel, by Xuxa 

Xuxa´s Spaceship




Sessão da tarde's Openings


Super Xuxa Contra o Baixo Astral, by Anna Penido and David Sonnenschein

Justification: Choosing a single Xuxa film to compose "Os Últimos Românticos do Mundo"'s list of references is a challenge, because absolutely all of them are part of my affective memory, and always of my cloud of references, but I'll highlight "Super Xuxa Contra o Baixo Astral" because I remember exactly what I felt every time I watched this film in the afternoon session: an immense desire to fight against everything that made me sad. In it, Xuxa teaches us how to paint a rainbow to defeat sadness, and in my film, Pedro and Miguel ask permission to use only the color pink to paint their road to the end of the world, bringing hope to the coming days, and making a single greater request for the entire next generation of the planet (which could even be said by the eternal queen herself): LOVE EACH OTHER!

Thelma & Louise (1991), by Ridley Scott

Justification: In addition to being called Cindy Vina and Leila, Pedro and Miguel's mothers are also called Thelma and Louise, since the first time I watched this film I wanted very much to be in that car, and leave for freedom, leaving behind so many places of oppression, just like probably everyone else. I love the way the road is lighted in the film, and how the two relate to the car of that journey. I particularly love Susan Sarandon and everything with her in it is a reference for any human being, I do believe. 


Blade Runner, by Ridley Scott

Justification: Blade Runner, also by Ridley Scott, was perhaps the first sci-fi film I have watched, a few years ago, and I was impressed enough to delve deeper into the genre. I believe the discovery was made back when I was still renting DVDs at a rental company near the Journalism campus, together with a great friend, and we formed a two-person "Movie Club". However, the more we shape the universe of our film, still in pre-production, the less of Scott's work was, in fact, in our budget / narrative reality, but still, I think it's in a very special place. 



by Maick Hannder (2019, 12min, MG)
Not recommended for children under 16 years
Drugs; Intense sexual intercourse; Nudity

Sinopsis: I saw a boy crossing the street today.

Maick and I met at the beginning of our audiovisual journeys, going around with our first films and sharing so many dreams and thoughts about the world. Among them there was already "Looping", and Maick's extremely affectionate look at these moments that every fag lives every day, that of imagined loves. I saw this film come to life, develop itself, and be edited, just as it also accompanied at that time the circulation of my second film, and, consequently, the birth of the Românticos, about which I would tell him from our first meeting on. Seeing our narratives come to life together is one of the great motivations to continue to insist on this tortuous path that is to make films in Brazil. May we never lack the strength to fight!