In the aftermath of her husband's death, Eni Spinelli, mother of filmmaker Kelly Cristina Spinelli, faces solitude. Years later, she tackles this by hiring a "taxi dancer" – young male dancers from Sao Paulo's outskirts charging up to $50 nightly to accompany elderly upper-class women. In "A Partner to Call My Own," Kelly explores her mother's journey and that of four other women engaging taxi dancers, delving into themes of loneliness, sexuality, and privilege among the elderly.
In the aftermath of her husband's death, Eni Spinelli, mother of filmmaker Kelly Cristina Spinelli, faces solitude. Years later, she tackles this by hiring a "taxi dancer" – young male dancers from Sao Paulo's outskirts charging up to $50 nightly to accompany elderly upper-class women. In "A Partner to Call My Own," Kelly explores her mother's journey and that of four other women engaging taxi dancers, delving into themes of loneliness, sexuality, and privilege among the elderly.