You won’t find a better locale for a film than Serra da Canastra in Minas Gerais, Brazil. Its rocky landscapes and serene hills are gorgeous, their quiet solemnity a perfect contrast to the loud gas-guzzling motorcycles director Vicente Amorim has roaming their dirt paths in Motorrad. The only other man-made objects found are constructions out of flat stones — an isolated home or ancient wall that shouldn’t be where it’s found. The same stones line the shores of calm lakes with which to let off steam: the main reason this group of six riders have come so far from their home on a beautifully sunny day. But this desire to live free comes at a cost once a random quartet of stalkers arrives to kill them one by one.
The result is an interesting film steeped in ambiguity and metaphor that I’m not sure resonates without research into the filmmakers’ motivations.
The result is an interesting film steeped in ambiguity and metaphor that I’m not sure resonates without research into the filmmakers’ motivations.
- 9/16/2017
- by Jared Mobarak
- The Film Stage
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