A swoon-worthy opening immediately places Bruno de Almeida’s latest film in a world that seems to exist only in cinema: A suave, wavy-haired Michael Imperioli steps out onto an empty, neon-lit street, as an Italian ballad plays in the background. “Cabaret Maxime” (also the name of the nightclub Imperioli’s character, Bennie Gaza, runs) takes place during an indefinable year, in an indefinable place. The setting looks like it could be any number of European cities, though it was shot in…