The director of The Blue Trail, Gabriel Mascaro, discusses themes of coming-of-age inversion, playful dystopias, and conservative awakenings.

      It’s a situation that, under certain fascistic regimes, may not feel so distant: to boost economic productivity, society's elderly are forced to spend their lives in remote colonies. This sets the stage for Gabriel Mascaro’s Berlinale Silver Bear winner, The Blue Trail, a deeply expressive Brazilian drama that follows Tereza (Denise Weinberg), a 77-year-old who disobeys the mandates and embarks on her own journey through the Amazon and beyond.

      In anticipation of The Blue Trail's U.S. release this Friday, I had a conversation with Mascaro about the film's inspirations, genre blending, redefining the coming-of-age narrative, its place in the recent surge of Brazilian cinema, and the growing relevance of its themes.

      The Film Stage: I understand that the film was partly inspired by your grandmother. Could you elaborate on the story's development and the tones and emotions you aimed to convey?

      Gabriel Mascaro: Yes, it was quite meaningful because she began painting after my grandfather passed away. Witnessing someone her age find new purpose in life was very inspiring. I sought to create a movie that encapsulated this feeling, featuring an elderly character and showcasing her viewpoint. Upon exploring elderly characters in cinema, I found that they are often linked to themes of death, terminal illness, or nostalgia. Typically, older individuals are presented as living reminders of the past.

      I tried to turn that notion on its head. I discovered that genres centered around coming-of-age and learning—often termed “rites of passage”—are mainly associated with younger individuals. The same applies to dystopian narratives, where rebellion rarely involves the elderly. I wanted to challenge this: to craft a playful film where the protagonist reclaims the role of leading character in genres that generally exclude older people. The soundtrack contributes to this playful tone, creating an experience that feels almost lyrical and experimental, transforming a road trip movie into one that explores the journey of life rather than a focus on death.

      One aspect I appreciate about your films, especially this one, is that while they deliver a message, they do so through mood and atmosphere instead of being preachy or overt. You leave audiences with striking imagery and characters, often expressing more than words ever could. What was your approach to ensuring that viewers were captivated by your visual storytelling?

      For me, it's a narrative about an older woman yearning to fly, only to ultimately realize she can soar higher than she ever thought possible. It's about understanding the power of choice, embracing risks, and forging new friendships and connections at an advanced age. It has been heartening to see mature audiences relate to this character in a “fabulist,” absurdist manner.

      However, it's also wonderful to see younger viewers in the cinema. Celebrating life and fresh experiences through an older character is special because we often link the idea of “discovering life” or “coming of age” to youth. It was a challenging endeavor due to the character's arc; witnessing an older character have a psychedelic experience typically evokes images of someone from Woodstock or the hippie movement. This character is different; she begins with a conservative, pro-regime, and patriotic mindset. Faced with the government's attempts to lower the entrance age to the colony, she realizes her time is limited. That is the catalyst for change. Her transformation is beautiful; she evolves from conservative beliefs to embracing life and new desires. By the end, when she has a “queer” encounter with another woman, she doesn’t label it. To me, that is beautiful, as it embodies something that can happen to anyone.

      Premiring in Brazil was intriguing, particularly with our notable actor (Rodrigo Santoro) involved, drawing diverse audiences. Brazil is quite polarized, much like the U.S., but it was rewarding to see individuals who didn’t expect this type of film feel a strong connection to the character, who originates from a conservative perspective, yet experiences a new vision of life.

      Yes, an awakening. The scenes featuring Rodrigo Santoro drifting down the river boast some of the most beautiful shots I've seen all year. How was your collaboration with cinematographer Guilherme Garza? Were there specific films or artworks that influenced your work?

      Since the film navigates various genres, we had to reference numerous films to carve out our unique approach to blending them. That was the riskiest and most challenging aspect. During the screenplay stage, I drew inspiration from Before Sunrise. While shooting, I was reminded of Ulrich Seidl’s trilogy, particularly Paradise: Love, which showcases stunning cinematography. I admire how he creates very symmetrical, still shots that then expand in vibrancy as we follow an erotic narrative. That was particularly meaningful to our work.

      The movie includes a myriad of references because it's genre-bending, combining dystopian, coming-of-age, and road movie elements. We were thrilled to provoke thought by merging genres that typically exclude older bodies. That's why the film opens with a dyst