Loose and ebullient, "Tattoo" sees worlds collide as the omnisexual leader of an anarchist cabaret troupe falls in love with an 18-year-old soldier serving Brazil's military dictatorship in 1978, just before the next year's amnesty law would commence a gradual return to democracy. With a gender-blurred atmosphere of glitter, nudity and impudence right out of "The Cockettes," the pic's primary club setting establishes a tenor both transgressive and innocent that carries over to the somewhat amorphous narrative. Winner of several top prizes at Rio, this first directorial feature Hilton Lacerda, a longtime scenarist (especially for Claudio Assisi), is a colorful flashback that should flourish on the gay fest and niche home-format circuits, with potential for wider exposure in select territories.
Lacerta's native metropolis of Recife is home to the "Moulin Rouge of the outskirts, the Broadway of the poor, the Studio 54 of the favela," as impresario/director/performer Clecio (Irandhir Santos) terms the Star-Spangled Floor. That establishment's motley performers live and love communally, with Clecio himself raising a teenage son he's sired with Deusa (Sylvia Prado). That aside, he has an otherwise tres gay lifestyle, including on/off involvement with flighty, temperamental, frequently drugged-up audience favorite Paulete (Rodrigo Garcia). They're having too much fun to worry about being broke, or on the radar of the government censors -- at least for the moment.
It's no surprise when that indeed comes to pass, or when the two men's affair raises the jealous ire of both Deusa and Paulete. But there's not too much plot per se going on in "Tattoo," which is driven instead by the infectious, hedonistic energy of the Floor denizens onstage and off. The myriad performance segments are faithful to their period in having a cheerful, semi-amateur air, while encompassing song, dance, skits, performance art, sexploitation, subversive political messages, juvenile scatology, sexploitation, drag camp and the proverbial kitchen sink. There's genuine romantic and erotic heat to some fairly graphic scenes between the male leads, which, like everything else here, have a spirit closer to liberation than prurience.
Perfs are well turned all around, and packaging is aptly high on color and verve.
Film Review: 'Tattoo'
We've upgraded our reader commenting system. Learn more about the new features.
The Baltimore Sun encourages civil dialogue related to our stories; you must register and log-in to our site in order to participate. We reserve the right to remove any user and to delete comments that violate our Terms of Service. By commenting, you agree to these terms. Please flag inappropriate comments.