The film centers on Hugo (Marcelo Ribeiro), a 12-year-old boy who is sent by his destitute mother to live with a wealthy, influential godfather whom he has never met. The godfather, however, does not receive him. Instead, Hugo is left in a high-end luxury brothel (referred to as a "palace of prostitution") run by a woman named Anna (Vera Fischer).

Over the course of 24 hours, Hugo is exposed to the adult world of sex, power, and manipulation. He becomes the object of desire for several of the house’s women, most notably Tamar (Xuxa Meneghel, in her first major film role). The film culminates in Hugo losing his virginity to Tamar in an explicit sequence. The narrative is framed as a flashback from an older Hugo (now a congressman) who recalls this traumatic and formative encounter while reflecting on the nature of power and submission.

The film unfolds as a long flashback, framed by the thoughts of a successful middle-aged man.

The Present (circa 1982): A prosperous, unnamed businessman (played by José Lewgoy) sits alone in a lavish but sterile apartment. He is haunted by a memory he can no longer repress. The trigger is a photograph. The narrative dissolves into a sepia-toned, hyper-stylized recollection of a single, life-altering day in 1937.

The Past (1937, Rio de Janeiro): A twelve-year-old boy, Hugo (Marcelo Ribeiro), is sent from his strict boarding school in the countryside to the bustling, decadent capital of Rio de Janeiro. The reason for his summons is vague—to visit his mother, a woman he barely remembers. He is picked up by a stern chauffeur and driven to a sprawling, mysterious mansion.

But this is no ordinary family home. The mansion is, in fact, a high-end luxury brothel catering to Brazil’s political and economic elite. It is run by a formidable madam, Dona Laura (Vera Fischer), a woman of icy beauty and shrewd calculation.

Hugo arrives on the eve of a major political commemoration: the anniversary of the 1937 Estado Novo coup, when President Getúlio Vargas solidified his dictatorial powers. The house is preparing for a grand party, and the most expensive “guest” of the establishment is a stunning, ethereal young woman named Anna (Xuxa Meneghel). Anna is kept in a state of gilded isolation, reserved for the highest bidder—tonight, a powerful, unnamed politician.

Hugo is initially treated as a nuisance—a boy in a world of adult secrets. He is handed over to the care of the younger, less sought-after women of the house. They are intrigued by his innocence. However, the boy’s silent, watchful presence begins to destabilize the fragile ecosystem of the brothel. He develops an obsessive fascination with Anna. She, in turn, seems to sense a purity in him that she has lost.

As the night progresses, the boundaries collapse:

The climax occurs during the political ball, a swirling orgy of champagne, medals, and hypocrisy. As the politician claims Anna, Hugo watches from behind a curtain, his initiation into the adult world complete—not with triumph, but with a profound, soul-crushing loss.

The flashback ends. The older Hugo looks at the photograph again. We realize he never left that room. He has been a prisoner of that night for 45 years.

Amor Estranho Amor (International English title: Love Strange Love) is a 1982 Brazilian drama directed by Walter Hugo Khouri. The film remains one of the most controversial and troubling entries in Brazilian cinema due to its explicit sexual content involving a minor. Set against the backdrop of a political and historical milestone—Brazil’s 1930s-era brothels and the Vargas regime—the film attempts to weave a narrative of political awakening and sexual discovery but is overwhelmingly remembered for its graphic depiction of child exploitation.

This report provides an overview of the film’s plot, production context, critical reception, and the ethical debates that have led to its near censorship and ban in several countries.