“The Riverbank” (“A Margem do Rio”)
(Brazil/Germany/France)
Screened at the 62nd Chicago International Film Festival (3/5)
North American Premiere, New Directors Competition
Letterboxd (3/5), Imdb.com (6/10), TMDB.com (6/10), Imdb.com critics review
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It might seem unlikely that one can appreciate a film but simultaneously have troubling issues with it. So it is for the debut feature from the writer-director duo of Enock Carvalho and Matheus Farias, a tension-filled LGBTQ+ thriller that also sports narrative content with an array of dubious themes. In the Brazilian city of Recife, known for its rivers and mangroves, the thick, lush woodlands on its waterfront are a prime spot for gay men to seek late night anonymous sexual encounters, despite the inherent dangers and sordid conditions involved. Yet, those circumstances aside, this cruising spot is one of the favorites of Izaquiel (Caique Copque), a janitor by day and serial erotic tracker by night. On one of his visits, he encounters Jeremias (Ítalos Martins), an enigmatic, chiseled fisherman, sparking an intense mutual attraction between them. But their meeting is suddenly interrupted by the sound of gunfire, an incident that results in the death of one of the area’s frequent visitors. As a result, Izaquiel and Jeremias soon part company, but that’s far from the end of their subsequent encounters, one of which yields a decidedly uncomfortable mystical episode for Izaquiel. Meanwhile, additional unnerving spiritual influences enter Izaquiel’s life when he starts a new job at an evangelist church led by a charismatic but sternly controlling pastor (Robério Diógenes) who carries his share of secrets – and regularly engages in unusual treatment of the new hire. To say more would reveal too much, but suffice it to say that these diverse story threads gradually become intertwined, leading to troubling developments for all concerned on various fronts. While the noir-esque unfolding of these plotlines is often captivating, it’s also the source of the aforementioned dubious themes. And, even though arguments could be made that the messages associated with these notions are ostensibly understandable depending on one’s viewpoint, they nevertheless all carry implications that are notably unsettling, and that’s the principal downfall of this production, disturbingly undermining the picture’s elements that do succeed. The film also incorporates a modicum of extraneous material that could have easily been cut, along with some ancillary story threads that aren’t as fully developed as they could have been. In addition, sensitive viewers should be aware that this release is frequently sexually explicit and occasionally graphically violent, potentially adding to the troubling material already noted. To its credit, though, this offering’s chilling slowburn pacing and atmospheric cinematography do much to aesthetically frame the story, qualities very much in its favor. While “The Riverbank” could be viewed as an impressive first feature for the filmmakers, they clearly need to hone their craft for future efforts, drawing on what they’ve already mastered but also taking affirmative steps to address what still needs work.