“A vibrant, compelling exploration of the concept of desire.”

Desire is a beast that rages within and is constantly trying to burst out and reveal itself to the outside world, which may not always be receptive. Few filmmakers have understood this more implicitly than Marcio Reolon and Filipe Matzembacher, who reside at the very heart of the recent queer film renaissance that we see emerging from South America, crafting films that look at the intersections between identity and social convention, and how they function together or in opposition, depending on one’s perspective. Their most recent offering is Night Stage (Ato noturno), in which the directors tell the story of a young theatre actor yearning to break through and become a star while also engaging in a torrid affair with a local politician seeking to bring change to the city as part of an upcoming mayoral election. The pair form a bond that is only strengthened by their growing curiosity about pushing the boundaries of their affair, culminating in steadily increasing risks as they seek new ways to satiate their ever-growing lust for one another. A film that is equally provocative and insightful, Night Stage dares to push boundaries in a way that challenges the status quo both creatively and in terms of the underlying conversations, being both enticing and deeply unsettling. It is ultimately a combination that is supported by the directors’ delightfully perverse worldview that only makes this a richer and more evocative experience.

Based on their previous work, Reolon and Matzembacher don’t tend to tell stories that cover the entire expanse of the queer experience, but rather choose specific themes and concepts and build narratives around those, usually through asking specific questions and seeking out the answers in their work. Night Stage is constructed around a very simple question: what is the difference between desire and ambition? The answer, or at least the closest approximation that they find, is that it depends on the social context in which one expresses it. The two protagonists of this film (played brilliantly by Gabriel Faryas and Cirillo Luna, who commit wholeheartedly to their roles) are men driven by an almost visceral craving for satisfaction, which aligns with both their professional pursuits in which they strive to succeed in their respective fields, and behind closed doors, which is where their animalistic impulses emerge. The directors creatively weave the deep, carnal urges of these two men and their pursuit of satisfaction in increasingly creative ways, exploring how desire can become a burden to those who allow it to envelop their lives and become their primary propellant, which is a common tendency for those who fail to make the distinction between the drive to succeed and outright obsession. Each revelation about these two characters adds a piece to a puzzle that is intentionally left unsolved by the end, leaving the entire film open to our interpretation, especially in how it addresses something deeply carnal and almost indescribable in nature.

Night Stage navigates a narrow creative tightrope as it sets out to answer some of the peculiar questions that inform its narrative, finding the perfect balance between its abstract themes and how they relate to the broader conversations that are provoked throughout. The directors clearly have a visual flair and make exceptional use of colour and framing when putting together these stunning compositions, which are beautiful in their simplicity and aid in filling in the gaps that the dialogue cannot accomplish. While they do seem to have their ideas firmly rooted in something more realistic, this doesn’t preclude them from taking some bold swings. Like many filmmakers working in queer cinema, Reolon and Matzembacher push the boundaries of what can be shown on screen, which is particularly notable considering how much of Night Stage is about human sexuality and lust. There are several scenes in which the characters succumb to their desires, which become increasingly provocative, keeping in line with the decision to perpetually increase the risk, the thrill of being transgressive emerging as a key theme that lingers beneath every frame of the film. Coupled with these provocative moments are a series of tonal shifts, where the film skirts around the edges of melodrama and psychological thriller, with healthy doses of dark comedy scattered throughout. This makes for a distinct and original work that consistently sets out to redefine some fascinating themes through creative, engaging stylistic and narrative techniques.

A look at the work done by Reolon and Matzembacher over the past few years reveals them as two of the most exciting artistic voices in contemporary queer cinema, especially since their work has echoes of João Pedro Rodrigues and early Pedro Almodóvar both in terms of style and substance. This intermingles with their distinctive vision to create engaging, poignant works that explore the queer experience in different ways. Night Stage takes the form of a tense, haunting psychological character study about two individuals exploring their sexuality and determining how far they can push their visceral cravings, as well as attempting to reconcile their innermost desires with their surroundings, which are not always particularly receptive to their ambitions. Here we can easily discern how this is essentially a story of a pair of protagonists who begin to blur the boundaries between their internal desires and public-facing ambitions. A tale of forbidden love that is compounded by societal expectations that restrict them from flourishing as intended, Night Stage is a daring and provocative work that defies genre and pushes boundaries, creating a vibrant, compelling exploration of the concept of desire and the various challenges that can emerge in the aftermath.

Image copyright: Avante Films, Vulcana Cinema