Making its festival run very soon, we took time out to speak with Felipe Marinheiro, the director of “Fuck You, Cupid.” The filmmaker behind the fantasy romance discusses his influences for the film, his ideas about true love, and why soccer led to his path to becoming a filmmaker.
For our readers, please introduce yourself.
Hi, I’m Felipe Marinheiro, a Brazilian filmmaker living in LA. I wrote and directed “Fuck You, Cupid,” which just premiered at LA Shorts. Beyond filmmaking, I have a background in film and TV distribution and writing for video games.
How long did “Fuck You, Cupid” take to film?
Cupid actually had a pretty quick turnaround. I had the idea in August 2023. We shot in December, finished post by the end of March, and just had our premiere at LA Shorts in July 2024. Everything happened in less than a year. I think a lot of filmmakers can relate, but I had past projects that I was stuck in for years and didn’t go anywhere. I wanted Fuck You, Cupid to be different.
What brought about the idea for “Fuck You, Cupid”?
I grew up in Brazil, and I think it’s a cultural thing, but we have so many signs and fliers on poles in the streets saying things like “bring your ex-love back in 24 hours” or something similar. I always thought there was something strange and non-consensual about putting a love spell on someone.
Then, last year when I was visiting the Met in NYC, I was looking at a painting of a lonely, sad woman, and I was trying to imagine why she was sad. So I thought, “she put a love spell on someone and realized how messed up that is…” That’s how Fuck You, Cupid came into being.
Were there any movies or books that influenced the premise for “Fuck You, Cupid”?
So many. In the Mood for Love and Eternal Sunshine of the Spotless Mind were big inspirations in terms of how I wanted to convey feelings of loneliness, guilt, and doomed love. Practical Magic was also an inspiration, blending romance and witchcraft. And even the second season of The Bear, when the main character sabotages his perfect relationship, was so interesting dramatically.
What inspired your penning of “Fuck You, Cupid”?
When I wrote the script, I had just started seeing someone. I really wanted her to like me as much as I liked her. So I think that’s why the whole moral of the story is that you can’t control and shouldn’t obsess about whether someone loves you or not. I was trying to learn that lesson myself — it worked out, we’ve been happily together for a year now.
Why do you think romance is such a relatable and universally adored genre?
Probably because it’s one of the most universal feelings. The butterflies in the stomach from having a crush, the euphoria of a kiss, the pain of heartbreak—most of us can relate and aspire to find some kind of requited connection.
All those strong feelings and desires usually lead us to make very irrational and drastic decisions, which is a gold mine for drama, in my opinion.
Who or what inspired your love for the art of filmmaking?
It’s probably because I was terrible at soccer. And you know, in Brazil, that’s what most of the cool kids do, so I decided to join the group of nerdy kids in my school. They would talk about Star Wars and The Lord of the Rings. I had never watched any of those, so I had to catch up. That’s when the movie addiction started. Later, when I started filming my own stuff and making my own little shorts, I had so much fun I couldn’t stop.
Who are some of the directors or writers that you look up to and who do you want to bring attention to in your field or others?
Alan Moore’s comics are definitely my biggest source of inspiration. Promethea changed my perspective of the world. That’s when my obsession with magic and mysticism began, and it has been a part of my work ever since. I think he is great at presenting mind-blowing concepts mixed with captivating characters. If you like Watchmen or V for Vendetta, you should read his other work.
What are you currently working on that you can tell us about?
I’m producing another short and have two feature film scripts I’m trying to get off the ground. The first, The Hound, is a modern take on an H.P. Lovecraft story, exploring the horrors of an underground LA art scene. The second, Silencio, is a small-budget cabin-in-the-woods film that reimagines the famous classical music love triangle between Brahms and the Schumanns with a paranormal/occult twist.
What advice do you have for aspiring filmmakers or creators?
A few years ago, I had the chance to meet one of my favorite active filmmakers, Robert Eggers—The Witch, The Lighthouse, The Northman. I asked him that same question. He said, “Make friends. Not only networking, but real connections. I couldn’t have made The Witch without the help of my friends.”
One of my biggest regrets in life is not asking him back, “So, Robert Eggers, do you want to be my friend?”