The Girl Next Door (1987) – AKA A Menina Do Lado
Middle-aged scribbler holes up in steamy Búzios to finish his book—and ends up finishing something far juicier with the forbidden nymphet next door.
Mauro, a married journalist in his mid-forties, rents a beach house in the sleepy Brazilian resort of Búzios to escape his routine and complete a manuscript. Next door lives Alice, a liberated, solitary fourteen-year-old beauty spending time away from her parents. What starts as neighbourly curiosity blooms into an intense, all-consuming affair as the jaded intellectual surrenders to her youthful allure, brushing aside every social taboo and his own family ties for stolen nights of passion under the tropical sky.
Alberto Salvá crafts this late-1980s Brazilian erotic drama with a knowing, unapologetic eye—neither preaching nor sensationalising, just letting the heat simmer in the post-dictatorship thaw when desire still carried a delicious frisson of the illicit. Shot amid Búzios’ pristine coves, powder-soft sands and languid...
Atlantic waters, the film bathes everything in golden light and sun-drenched languor, its vibe pure sun-kissed sensuality laced with Jobim’s breezy bossa nova strains: dreamy, forbidden, and steeped in the easy hedonism of Brazil’s coastal playgrounds.
Flávia Monteiro, a complete newcomer plucked from hundreds of hopefuls, debuts as Alice with luminous, unspoiled beauty—big eyes, budding curves and an instinctive, emancipated sensuality that melts the screen. Her nude and intimate scenes (guided carefully despite her real-life virginity) carry a tender yet charged explicitness: softcore caresses, breathless couplings and bare youthful allure that feel both innocent and intoxicatingly erotic, sealing her as the ultimate edible girl next door.
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