“As peculiar as it is memorable.”

Deep in the heart of Northeastern Brazil sits the small town of Picuí, which is one of the countless villages that populate the arid landscapes regularly referred to as the sertão, defined by harsh climates in which very little life tends to grow. Yet, it’s in these regions that we find some of the most vibrant cultures, as evidenced by Yellow Cake, the second directorial outing of Brazilian writer and director Tiago Melo. He crafts a fascinating story set in Picuí, which serves as the stage for this strange and offbeat adventure fable. The premise is simple: a group of scientists travel to this remote region with the intention of eradicating a particular species of mosquito known to carry the virus that leads to dengue fever, which the film says is a leading cause of death amongst rural communities across the country. In order to achieve this, the scientists intend to subject residents to an experimental procedure utilizing the uranium ore that is mined nearby, an experiment that they hope will reduce the number of deaths significantly, not realising that a far greater danger is posed by the exposure to these dangerous minerals. Inspired by several different sources, such as neo-westerns, psychological dramas and social satires, Yellow Cake is a strange curio of a film. It serves not only as a promising introduction to Melo, who clearly has the skill to leave an impression on the rapidly expanding Brazilian film industry (which is becoming more celebrated as a global cinematic powerhouse), but also contributes some fascinating insights into the ongoing debate around the intersection between science and culture.

Yellow Cake is the kind of satire that intentionally throws out some wild statements in the hopes of piquing the audience’s curiosity and drawing us into the story, using the promise of a challenging concept to provoke both thought and conversation. Melo introduces many ideas throughout the film, but perhaps the most intriguing is that of science as a form of colonialism. Obviously, this requires a more nuanced discussion, but the film posits the idea that imperialism remains, having taking on several different forms, and in this case emerging as the efforts of a group of supposed experts setting out to experiment on rural communities and take advantage of the natural resources embedded in their land, under the guise of attempting to cure a disease devastating the region.  While he may only be evoking the idea for the sake of understanding the subject, the director does make some fascinating observations on both the ongoing colonial project as well as the problem of environmental destruction, which continues to be a contentious topic, especially amongst those who don’t realise the importance of every decision, both personal and industrial, since it all has an impact on the planet. The motif of exploiting the environment to find a cure for a disease that is wiping out the very people who inhabit this land that may be rendered unusable is a powerful metaphor, albeit quite subtle at times, and adds layers to a film that quietly but decisively introduces some complex themes into the discussion.

When working with a narrative that can veer towards the opaque, a film needs to depend on the strength of the execution to effectively bring all of its ideas together. Mercifully, Melo is a gifted filmmaker and has both a firm command of the core themes and a strong visual eye that makes Yellow Cake a solid directorial outing. Considering the approach was to create a blend of genres, the film works through quite a few different styles, settling on one that makes the most sense for this narrative, which is a character-based adventure that combines elements of political thriller and action movie, with generous helpings of dark humour that give it a satirical edge. Filmed on location in one of the many small towns that populate the region, which manage to overcome the dry, arid surroundings through embracing their culture, the film pulsates with a new energy that has informed many contemporary Brazilian works. Its particular focus rests on evoking the kind of innovative approach found in works by directors like Kleber Mendonça Filho (who unsurprisingly serves as a producer on this film), where culture and crisis constantly collide. It’s a visually dynamic work, albeit one that does take its time to reach boiling point. However, when it begins to unspool into what turns out to be quite an effective blend of political and social commentary, everything falls into place and makes Yellow Cake a thrilling exercise in pushing boundaries without redefining the genre, focusing less on the narrative itself and more on the atmosphere, which underlines some of its more intriguing elements.

There are a number of ways to view Yellow Cake and its core ideas – as a simple exploration of a small community, a bitingly funny satire in which the residents of this town push back against the influence of outsiders, or a genre-bending adventure drama that is as peculiar as it is entertaining. Where each viewer will fall in terms of focus is up to individual interpretation and the elements that they find most intriguing, with the director ensuring that there is something captivating for everyone, even if it can feel quite dense in terms of both structure and underlying message. There are a few moments where we wonder whether the ambiguities are going to add up to something meaningful, or if they’re just going to contribute to what is a fascinating mood piece. However, the message is never entirely eclipsed by the offbeat execution, since the lingering sense of dread and danger work in tandem with the core themes to create this mysterious but enticing psychological thriller. Yellow Cake dives deep into the Brazilian heartland, exploring one of the many communities that we don’t often see represented on screen. Anchored by a strong cast of tremendous local talents (which includes Tânia Maria, the breakout star of The Secret Agent, in another wonderfully eccentric, scene-stealing part), the director’s precision and dedication to an unusual premise allow this film to develop into an enthralling, unconventional cultural souvenir that is as peculiar as it is memorable.