“That you can’t deny that young Allan Deberton knows how to film – or organize the paths for his photographers, whatever –, you can’t. Since his previous short film, Doce de Coco, which has garnered plenty of awards and admirers out there – I remember not having liked it very much, no – and that I was so attached to taking good images, in the construction of paintings with adequate light and captured, yielding such correct moments, in the transitions of the shots… Here, a little later, doing a job that it is still strongly based on outdoor constructions, which always demands more work and elaboration – something that can be credited to the infinite that does not impose barriers, by not taming sunlight, to environmental variations, which can be both companions in the good result. , how much ” executioners ” , if there are slips – than what happens in controlled environments , it is noted that he likes to scratch aesthetic risks , he takes pleasure in the possibilities generated by the surroundings , in the composition of images that will occur completed by dry-looking edits, but fluent between the joined parts.
And then we arrive at the case of hidden love, of desire, of a friend’s desire for another, in moments of vacation, which carries the story along delicate paths, of fears, of threats to come and go. The director elaborated a whole motto in which various hormonal possibilities abound, in which a performance can seem narrow-minded, and in search of places of pleasure, it seems to be one of them (Victor Souza), while the dreams and desires of the other refer to much more believable performance – in the sense of discomfort when confronted with interpretations that go beyond the naturalist standard – of the other (Jesuíta Barbosa, who bursts out at the time because of the feature Tattoo). And then, it is noted that Deberton progressed, in a film of as much care as the previous one, but which is less ostentatious/offered at first glance; in a film that also talks about love and desires, but is less innocent as well as destroying dreams and expectations; in a film in which even the bet on contrasting performances makes us realize that he found bigger and more interesting possibilities in the variations.
The moments on the beach are glued to the retina, filmed with full awareness that one was going there in search of the difficult variations that the flat light of the sun insists on not offering for free. “
