In her second feature film, right after the superb "Carvão", writer/director Carolina Markowicz proves again as being one of the most hopeful
new talents of Brazilian cinema and a name to be seen. Both films entered our internal six films shortlist as Oscar representatives for the International Film
category but we failed to launch her films and went with something else (as much as I deeply love "Retratos Fantasmas" it was a selection made to be lost
since it's a documentary rather a fiction. This one had way more potential to at least get the top 15, of which don't enter ever since 2008 back when it
was top 9 and "O Ano que Meus Pais Saíram de Férias" made it through but without getting the nod).
"Pedágio" ("Toll") is an outstanding nervous film that deals with a strange parallel line revolving a family drama where a mother convinces herself to participate
on risky and shady business with criminals just to get money to solve a problem at home. Suellen (the amazing Maeve Jinkings) needs the money to sent
her teen son Tiquinho (Kauan Alvarenga) to a gay conversion therapy since she has a prejudice against them, but also worried about the suffering her son
will face while dealing with society. They don't live in the best of places, it's one of those exit cities around the big metropolis, mostly composed of
industries, factories, zero job perspective and a flourishing poverty. One may understand a little about her frustrations and a somewhat dedication to
Tiquinho, but we never excuse her short-sightened view of things, neither her prejudice.
The turn of events comes from a on-off relationship she has with a cheap type (Thomas Aquino) who makes some robberies on the surroundings, specially
the state highways, and that's where Suellen gets in to "help" everybody: she works a toll booth and warns him and his partner about the fancy cars who
pass her booth (ruthless, ill-tempered people go too). Things work alright, Toquinho goes reluctantly to the meetings with the Portuguese pastor/charlatan
(Isac Graça) but as usual in Markowicz works do not expect things to go always quietly, even they appear so on the surface, and a shift in everybody's lives
can change in unexpected ways.
The film carries such a fine softeness despite some controversial themes that it conquered me very easily, even though I can't stand the gay cure
debate. The couple of scenes of Tiquinho and the whole group having to endure those courses had me eye-rolling in between nervous laughters (the audience
was like that too). But there's such a different approach that one gets by easily, and add a point in fact with the mother, as Maeve does not play the typical
homophobic mom who curses and berates her son, and they even share plenty moments of cumplicity, affection and love. You can totally see they depend on each
other to a certain extent and that's why she goes on such a harsh and dull crusade.
Another light point from the film comes from Suelen's co-worker/best friend
(Aline Marta Maia), responsible for some of the humored bits from the story, also with a scheme during work.
Again, as with "Carvão", I see a movie that allows audiences to get to know their characters, their dilemmas and situations, investing them
with such care, profoundity and closeness that for a while you forget that this a movie and believe in the reality of it all. It's a great powerful drama,
with amazing performances, and very suspenseful even though it takes some time to get where it needs. And now I can only wait, anxiously, for Carolina's
next film whenever it comes. 10/10.
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