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Almeida's Marvelous Motorino
Motorino displays some deep cinema influences and remarkable acting. Tamara Almeida is the force behind it and bringing a simple complexity to her character in this tale of real life and love.

Canadian Tamara Almeida is enthusiastic about the state of her career. As an actress, her creative goal is to pursue a variety of roles that bring forth ample opportunity for exploration. Whether as Maria Mariposa the butterfly in the acclaimed PBS animated series Let's Go Luna (also starring Judy Greer) or as the sister of a family member tackling addiction in 77 days, Almeida is building a body of work to showcase her range. As Alexia the enabler to a master manipulator from The Girl in the Photograph, a young woman in a dangerous game of sexual discovery in The '94 Club, or creating her own film Motorino, Tamara finds herself in that sweet spot which affords a number of opportunities. She is a prominent part of presenting interesting female roles that reflect the variety of modern experiences for a woman.

Almeida produced and stars as the female lead in Motorino. As the overworked, overtired, and overly self-conscious Jen, Tamara is the center of the film. The character finds herself at a serendipitous moment where a life change and love may be intersecting. Perhaps most striking about the role and the film is its almost complete rejection of dialogue and the fact that this absence does not detract from immersion; rather, it promotes this.

While taking an interest in scooters, Jen comes across the online profile of a man who sparks her interest. The two agree to meet, fueling the intrigue and trepidation which is communicated so well by Tamara. Appearing to resounding response at the ReelWorld Film Festival, Vancouver Lift-Off Film Festival, and others, film buffs appreciated this well-crafted production.

Director Kevin Walker explains the influence of Italian cinema on Motorino noting, "The first half maintains the stoic tone of Dario Argento while the second half incorporates the movement and romanticism of Federico Fellini. The beginning is cold and isolating, noted by blue tones, stillness, and Foley while the remaining half, as Jen ventures into romance, is in warmer tones, fluid camera movement and live sound. Opening the film, my character is purposely only partially in frame, somewhat disembodied in order to communicate her own self-disconnection. It was also my intent, hence Argento, to create a sense of horror mirroring her fear of the unknown world. My ultimate aim was to leave the audience smiling and inspired by the joyful surprises life lends if you allow it."

A vastly different tone and role is present for the actress in 77 Days. A film about a mother's addiction and necessary separation from her own child, the weight of the story is offset by the hope of redemption. The core of this tale is about the varied familial relationships in such a scenario and how different members of this group react to the situation. As one of the middle siblings to Shai (Shailene Garnett), Tamara's presentation in this role varies from protective voice for her nephew to the sense of betrayal she feels from her once close sister. 77 Days allows audiences to empathize with this all too common occurrence in the world, regardless of geography or culture. The most basic unit on Earth is that of family, regardless of size. The universal appeal of this film received equal accolades at the Montreal International Black Film Festival,New York Web Fest,Pan African Film Festival,Toronto Black Film Festival, and others. Tamara Almeida's work similarly shows that the artist community is an international community which derives its influences and tells stories that reverberate across international and cultural borders.

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