Pedágio

Maeve Jinkings, Carolina Markowicz and Aline Marta Maia, a trio that worked very well, after the wonderful "Carvão", this is exceptional... A film full of layers, the misfortune is told in a fun way, in that best ironic humor that we love, between the lines... A mother, who in order to promote gay healing, becomes a criminal, in short, the hypocrisy, but in a genuinely naive way, the performances are the highlight, which delights, the accent, the naturalness, the comedy (special mention to newcomer Kauan Alvarenga)... Absurdly real and fun.

Suellen, a toll collector, realizes that she can use her job to earn extra income illegally. But all for a noble cause: to finance her son's trip to the very expensive gay healing given by a famous foreign pastor.

"Toll" is one of those films that teases the audience with sensitivity and irony, while opening doors for deep reflections on morality, affection, and the dangers of a society that, in the name of the "greater good," pushes painful contradictions. Directed and written by Carolina Markowicz, the movie dives into the relationship between a mother, Suellen, and her son, Tiquinho (Kauan Alvarenga), with rare depth. Suellen, played intensely by Maeve Jinkings, lives in a constant duality: she loves her son, but her values, shaped by religious and social pressures, keep her from fully accepting who he is. This mix of love and incomprehension is what makes the film so human and, at the same time, so critical.

The movie opens with a scene that sets the tone right away: the camera follows Suellen waking up in a way that's almost voyeuristic, making it clear we're about to witness a life in its most intimate nuances. The narrative unfolds in a nearly documentary style, following the protagonist as she goes about her day, navigating the pressures of a society demanding that she show "acceptable" behavior for her son, who freely expresses himself with makeup and lip-syncs to foreign songs. Jinkings' performance hits the mark as she communicates the anguish and love driving her contradictory actions, often with just subtle expressions. This clash between genuine love and the desperate search for a "cure" for her son's differences is the heart of the film and reflects the hypocrisy of social norms that suppress individual freedom for the sake of questionable morality.

The film's aesthetic, with its raw, unpolished look, adds to the sense of closeness and realism. Markowicz goes for a color palette that keeps everything purposefully dull, except for moments when Tiquinho appears in his videos, lit by the artificial, colorful lights he uses. It's a contrast that not only highlights the importance of these spaces in Tiquinho's life but also the emotional emptiness of Suellen's world. The choice to film so naturally, without idealized angles or clean-cut scenes, makes the story feel familiar, reminding the audience that this reality is all too common for many families facing the weight of conflicting social expectations.

In this setting, one of the film's most iconic scenes happens during a "therapy" session with a pastor, where Markowicz leaves the hypocrisy blatantly exposed. The setting, with a vibrant bird painting in the background contrasting with the pastor, tired and lacking any real passion, emphasizes the emptiness of the religious practice on display. These scenes are loaded with irony, especially when the pastor shows images on a monitor and talks about the "danger" represented by sexuality. By presenting these scenes in such a straightforward and almost comic way, the film mocks the idea that repression can "cure" any orientation, a point that's amplified by Tiquinho's own reaction, observing it all with a mix of disbelief and mild sarcasm.

One of "Toll"'s strengths is how Markowicz builds the story without rushing, allowing the audience to get familiar with the characters and feel the weight of Suellen's choices before the situation truly escalates. Instead of racing to a high-stakes climax, the movie slowly builds a sense of dread and inevitability. Through this pace, we see Suellen sinking deeper into questionable decisions, all in the name of paying for a "cure" for her son, leading her down an illegal path. This arc reflects how desperation and fear of social norms can blur ethical boundaries, a theme that grows ever more evident and impactful throughout the movie.

At the heart of "Toll" lies the question of cost - the "toll" Suellen pays, not only in money but with her integrity and her relationship with her son. With every attempt to shape Tiquinho into something "acceptable," Suellen distances herself from who he really is, creating a gap that widens with each choice. This emotional "toll" builds up a weight the audience feels palpably, and the film's title, which at first seemed to refer only to Suellen's job, reveals itself as a metaphor for the losses she endures while trying to "save" her son.

The performances by Jinkings and the young Kauan Alvarenga as Tiquinho are key to the film's success. Alvarenga manages to show the complexity of a teenager who, while confident in his choices, carries the insecurities typical of his age. The mother-son dynamic is painful to watch, as it reflects the reality of many families where love is present but tangled in the expectations that stifle individuality. This is one of "Toll"'s richest aspects: although the story is deeply critical, Markowicz never judges Suellen, portraying her as a woman doing what she believes is best for her son, even if she's blinded by her own morality.

Ultimately, "Toll" is a movie that makes you laugh, cry, and think, often all at once. It challenges the audience to question what it truly means to love someone and what the limits of that love are in a world full of rules that make no sense. It's a satire that pokes at norms subtly yet effectively, leaving you with an uncomfortable feeling that maybe we're all paying a toll by trying to fit our lives into molds that, deep down, don't work for anyone.

This movie was on Brazil's list of nominees for the Oscars, but was not nominated by Brazil. "Ghost Portraits" is chosen to represent Brazil at the Oscars.

Maeve Jinkings will soon win a Palme d'Or at Cannes. This is the director's second movie. I preffer the first movie called "carvão". "Pedágio" could have been excellent if it had developed the problematic "gay cure" more. The part of crime is very good, now every time I pass a toll I remember this scene.

This movie is very important. Films like this are often not shown in theaters or streaming services. It's important to reflect on this.

I recommend this movie.

My note: 7/10.

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.

Suellen is Brazilian, the single mother of teenaged Antonio, who loves to sing and dance, and make music videos of his performances to post online - much to Suellen's embarrassment. When her toll booth co-worker / religious best friend suggests gay conversion therapy led by a renowned visiting foreign pastor, she enrols Antonio before he turns 18. To cover the high cost, she has her boyfriend introduce her to a gang of car robbers, and she plays scout at her toll booth to message the robbers of potential high-value targets. Meanwhile, the therapy has fairly typical "scientific" claims, and the group is fertile ground for those seeking same-sex hookups. Eventually, things go awry.

It seems strange that the gang could do repeated robberies in the same stretch of highway, without the police noticing. Antonio's gayness seems rather stereotypical - besides dressing flamboyantly for his videos, he seems to do occasional drag. And while the boys are seen kissing, Suellen has scenes where she is nude or semi-nude. So I wonder what audience the filmmakers had in mind for this film.