Watch “The Blue Trail” – Elderly Defy Dystopia in Thrilling New Clip!

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As a movie critic, I am thrilled to witness another triumph for Brazilian cinema with Gabriel Mascaro’s “The Blue Trail,” premiering in competition at Berlin. This year, Brazil has made history with Walter Salles’ “I’m Still Here” earning its first Best Picture Oscar nomination, and now we have three consecutive Brazilian films – including Mascaro’s masterpiece – gracing the most prestigious sections of the Venice, Cannes, and Berlin Film Festivals. Following in the footsteps of fellow Brazilian filmmakers like Walter Salles and Karim Aïnouz, Mascaro is undeniably carving his own path in the global cinema landscape.

Mascaro says, “Every movie I’ve made stands out distinctly from the others, yet they all have remarkable qualities,” Mascaro shares with EbMaster before the Berlinale premiere. “I feel incredibly honored to contribute to this diverse collection.

In an upcoming not-too-distant Brazil, the government moves older citizens into senior living districts, allowing younger generations to concentrate on work and progress. However, Tereza (Denise Weinberg), who’s nearly 80, resists her destiny and instead embarks on a journey through the Amazon rainforest, pursuing one final dream before relinquishing her independence. Check out the exclusive preview below:

Over the past decade, Mascaro has been refining his thoughts on portraying aging bodies in cinema. He’s sought out examples and noticed the scarcity of films with elderly protagonists, along with the frequent association of older bodies with a sentimental longing for life. It seems as if the elderly body is primarily used to store memories, a means of preserving a lived life that’s always on the brink of death. This never-living present form started to troubling him.

The director notes that films like Yasujirō Ozu’s “Tokyo Story” and Michael Haneke’s “Amour” offer unique perspectives on the elderly, but laments that similar portrayals don’t appear in a dystopian setting. He observes that in most stories, it seems as though only the young are allowed to rebel against the system; the old seem almost excluded from dystopian narratives. In essence, he suggests that the elderly are rarely granted the opportunity to defy the system within such literature.

finding an older female protagonist in a field that tends to overlook elderly characters, especially women.

In Mascaro’s words, “Brazilian dramaturgy is frequently linked to a distinctive appearance and Rio de Janeiro. We aimed to break free from these boundaries and discover a less familiar face for Brazilian TV. Our challenge was also to find an individual whose appearance hadn’t been altered significantly by the surgeries that are increasingly common in today’s television industry.

In terms of selecting the ideal actor for Tereza, choosing Rodrigo Santoro (known for “Love Actually” and “300”) as Mascaro’s character, Cadu, was a no-brainer from the start. The director found their creative collaboration enchanting, citing a past experience in his life that made the casting seem like a fitting closure to a circle.

25 years ago, when I was 16 living in Recife, I attended the first showing of ‘Brainstorm.’ At that time, I hadn’t even imagined making films, but Rodrigo’s performance left me amazed. His on-stage and on-screen personas were so distinct, and it left a lasting impact on me, inspiring my desire to create movies. Now, fast forward to today, and we find ourselves reconnecting with that very same film.

From the get-go, Rodrigo was completely invested. He shared my creative restlessness and threw himself wholeheartedly into his character. He’s a dedicated actor who pays attention to every detail. It was an enriching experience working with someone so energetic and committed to the project.

In crafting the world for his film, the director approached it similarly to how he did with his past work on the 2019 movie “Divine Love” – a futuristic tale. Instead of mirroring the aesthetic of “Blade Runner,” this fictional future was designed to suit the narrative without necessarily resembling it directly.

The director emphasizes that altering human behavior carries greater impact than sleek, futuristic devices or flying automobiles. In crafting our film’s universe, we devised elements such as the Wrinkle Wrangler – a vehicle that collects elderly individuals from streets much like a dog catcher gathering strays for the pound. This act symbolizes public embarrassment and reflects the deplorable treatment of the elderly in Brazil. We can incorporate social commentary without relying on advanced technology. I view dystopia as occupying a space between holistic truths and fables.

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The director underscores that modifying human behavior holds more weight than high-tech gadgets or flying cars. In constructing our movie’s world, we devised concepts like the Wrinkle Wrangler – a car that picks up elderly people from streets similarly to how a dog catcher collects strays for the pound. This practice represents public humiliation and mirrors the unfortunate treatment of the elderly in Brazil. We can integrate social commentary without resorting to futuristic technology. I see dystopia as encompassing a space between holistic truths and fables.

Discussing his choice to locate the movie within the bustling Brazilian Amazon, the director highlights that he aimed to view this area not solely as a symbol of conservation, but rather through the lens of the complexities and contradictions inherent in modern society.

He says that the movie shows the industrial aspects of the Amazon, featuring an alligator meat factory operating like any other processing plant and a casino where people gamble on fish fights. The goal was to delve into how popular culture and capitalism adapt symbolic elements from the diverse wildlife of the Amazon.

Regarding being chosen in the Berlin competition, Mascaro expresses a sense of profound happiness for the movie itself, yet equally for the chance it provides to bring attention to the topics addressed within the narrative on a broader scale.

This movie tackles not just physical aging, but also displacement and the relocation of communities against their will. It’s particularly relevant as it addresses these topics symbolically, without focusing on a romanticized version of Brazilian culture. Instead, it aims to engage in global discussions.

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2025-02-15 11:47