A beautiful movie movie from Brazil

Distopia movies near the future are a dozen, but it’s hard to remember the one who swept you in defiant joy of liberation like Blue path (Last blue). The imaginative Fabula Gabriela Mascara is a slap in age discrimination, with hallucinogenic gastropods, a two-tone tropical fish and “Wrinkkle wagons” with cage straightening stamps that pull out the innus old as children take photos from their cell phones. The subversive spirit that gradually woke up in the 77-year-old central character echoed in cheeky conspiracy pleasures in the film and fantastic and based in earth reality.

Mascaro had its international breakthrough in 2015 with intoxicating screws Neon bullThe paying sensual thinking about the thin line that separates the man and the beast, which observed conventional concepts of macism by observing a makeshift family for handling the animal who work a rodeo circle in northern Brazil. Taste cowboy for sensitive colon and aspirations for designing women’s clothing was to reject gender stereotypes through one of the sexiest, most important men’s screen protagonists in the past decade.

The director, who started the documentary, followed in 2020. Divine huntWell, a satire of the dishonorable intersection between evangelical Christianity and the ultimate right conservatism. Targets on religious hypocrisy and autocratic government, mixing in everything, from marriage to pregnancy to sex, the film evoked the script and futuristic and scary convincing, in which the extension became political. Jd vance wet dream.

The bodies were a thematic motif in Mascar’s narrative features. This continues with Blue pathin which the bureaucratic edicts are invalid ownership of the old body of Teresa (Weinberg). However, in the famous Fu to the authoritarian rule, the director and his co-author Tibério Azul Slava Teresa’s physical vitality, and even her re-erotism, while her transformative journey takes place.

A breathtaking drone shot end of the end of the film shows an alligator that breaks along the surface of the Amazon tributary. This symbolizes Teresa emancipation in an elegant turnaround of the place where it was at the beginning, working at a processing factory for the meat of alligators. The village in which he lives is almost Shantytown, surrounded by factories.

The exciting announcements of public addresses and banners fluttering from the passage of the aircraft declare: “The future is for everyone.” But happily is a self -sufficient Teresa skeptical of its place in that future. She is less than delighted to return home and discovered that government employees are hanging over gold bay across the door of her modest hut; They award her a medal that declares her “national living heritage.” “Since when has he been honored?” Muttered with stains.

At the age of 77, Teresa is still the remaining three years before the mandatory removal of the Government into the “colony”, an isolated settlement for the elderly. Politics is designed to release younger generations from responsibility and thus stimulate productivity and growth.

The fact that no one was subjected to this forced relocation ever enhances doubts about an even more vicious form of generational cleansing, although the scenario sharply maintains ambiguity. Propers of graffiti that speak “Return my grandmother” or “the elderly are not a commodity” point for disagreement between people.

When Teresa’s boss at the factory informed that she was inadvertently retired, she also learned that the state had reduced the age to move from 80 to 75, and as long as its removal, daughter Joan (Clarissa Pinheiro) became her legal guardian. Without blows, Mascaro notes a bitter irony of a woman who raised her daughter while she did two jobs and then confiscated autonomy, while Joana collects checks for subsidies.

Teresa has always dreamed of flying on the plane and trying to fill with her wishes before being carried away, trying to buy a ticket at the airport at “Wherever the next flight goes.” But all the trips are closely monitored, with ultra -aircraft forbidden and state commercial flights the only option. This becomes a controversial point when Joana refuses to approve her purchase.

Refusing to leave his dream, Teresa slides the pilot of the Cadua river ship (Rodrigo Santoro), a piece of its savings to transport it down Amazon, to Itacotiara, where rumors can be found illegal flight.

Communication between them is short and he cares for her questions. But when the fireworks signal says that the route is temporarily closed, they retreat to the tributary to wait for it, which is when Mascaro introduces the first element of magical realism that gracefully transforms the story. The electron result of the Memo Guerre also takes on more soothing tones, echoing the gentle rhythms of the river.

While floating on an inflatable raft, Cadu finds an elusive “blue dool crawl”, a species that secretes Cerulean mucus, which, when used as Eyedroops, says that it illuminates the path of a person to the future. He doesn’t spend time trying to.

Teresa is initially worried because the boat begins to burn from fever. Half the disorder, he throws himself to find his lost love, the woman he let on to drain in favor of his ship. When all the clean signal comes, telling them that it is safe to continue, the Cad is not in the form of managing a vessel, so Teresa gives a collision course. In a key part, he tells her if she can drive one boat, she can drive them all.

Another important nugget comes when it goes to the shore to explore a sailboat. A light aircraft is out of commission, but Teresa pays to the owner Ludemir (Adalino) to try to repair it. She encourages her to bet the game of speculations with the headquarters in animals, telling her that the first Timers always win. She refuses, but tolerates this information later, along with the name of gambling cubes, goldfish, where it is possible to make a lot of money. What happens there is the scene of the jaw lowering as beautiful as it is violent and strange.

The failure threatens to stop the momentum of Teresa, but she has become Wilier in her escape instincts, which led to the exploitation that borders on the farced. She also meets the ideal companion in Roberta (Miriam Socarrás), known as a “nun”, an ebulliently humorous woman of a similar age who captures a boat on which the crustas up and down Amazon, sells a digital Bible to the Gallible River Community River.

At every step of his journey, Teresa acquires knowledge that expands his world. Robert learns that it is possible for people to buy their freedom when they hit the age limit and thus avoid the colony. When two fast friends find another blue snails, they appear together in the eyelids, and Teresa’s fate becomes clear as he learns to dream bigger.

Picareque the quality of the story means that it is full of surprises, development moving from alarming to absurdly ridiculous, without any transition to sympathy. Many thanks to the wonderful actors, especially Weinberg. Teresa is physically, mentally, emotionally and perhaps spiritually, illuminating as he continues his travels, although, although the natural seller with the Bibles, he learns from Robert that the only thing worth trusting is freedom. The way he rediscoves his body in an improvised dance or washing with a bucket of water and the blade is mesmerizing.

Socarrás is equally enchanting, with bright eyes, great hearty smiling and infectious Joie de Vivre. Together, she and Weinberg feed on the energy of each other in the joyful exchange of life warmth. And it is good to see Santoro play down Matinee-imdol looks like a rough surroundings, probably an unfair hard guy, whose developing relationship with Teresa is unexpectedly turning.

Mascar’s films were observed by mastering colors and light, which is still in his first collaboration with DP Guillermo Garz. The lush green jungles located by the river are almost iride centers, the sky is intact blue, and the sparkling waves of the Amazon and all its sinus curves are hypnotic. Recorded in a tight 1:33 ratio, the movie has an intimacy that is beautiful in contrast to its expansive natural vistas.

Mascaro does not diminish the ugly and too true spectrum of authoritarianism, but transmits it with the tickling scientific-fantastic economies, mostly in the panoses and those cheerful, propagandist public shows. Terrible backpacks that provide the elderly related to colonies and stuffed with adult diapers are a fun touch. What is extraordinary about Blue path And it does this by such enthusiasm is that, despite all the oppression in the air, a film is filled with hope and faith in human resistance at any age. The final picture will make your heart. And no, that’s not what you expected.