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Separate bedrooms that offer space, privacy and tranquility – so it’s easy to rest, relax and recharge your spirit after each exhilarating vacation day.Spacious living and dining areas where your family can share even more quality time together after you return from the parks.
A fully-equipped kitchen, so you can prepare meals and snacks from the comfort of your villa.1- and 2-Bedroom Villas (sleep up to 8 adults).Rooms and Suites with Club-Level Service (sleep up to 7 adults).Rooms and Suites (sleep up to 6 adults).All room types share the same Resort amenities, including pools, dining and recreation. Anyway, that task is little more than the MacGuffin intended to get the two boys back to the beach, where Tomaz doodles handsome men on the walls of public toilets and in the pages of his sketchbook.Choose from a wide array of accommodations, from rooms and suites-some offering Concierge service-to home-like options in the villa section of the Resort. Before the trip, Martin’s dad asks, “You know what to do?” but we don’t have any idea what he’s talking about - something to do with a “document” Martin is expected to collect from an old lady who appears to be his grandmother. Matzembacher and Reolon expect their audiences to read between the lines, dealing more in subtext than traditional scripting or exposition. Though little is explicitly spelled out about the boys’ past dynamic, there are hints that perhaps they’ve drifted apart, and this off-season trip from Porto Alegre to the southern beach house belonging to Martin’s family could be a slightly awkward reunion. At one point, after a late-night game of truth or dare, he awakens the following day with pale blue hair. Tomaz (Mauricio Jose Barcellos) is a bit shorter, fairer and slightly more inclined to test the boundaries. Somewhere between the ages of 15 and 20, Martin (Mateus Almada) is young, male and Brazilian - that much we can tell by looking at him. Wan and listless in much the same way a teenager who’d rather lay about than do his chores might behave, “Seashore” resists whatever expectation adults might put upon a film to serve as a traditional narrative, forgoing details in favor of a loosely assembled collection of observational fragments: a lingering glance at a young man’s long-lashed eye here, an underage underwear-clad bottom there, garnished with a hazily viewed teenager toweling off after the shower.Ĭomprised mostly of free-floating scenes, shot as if the handheld camera were stationed in a boat rocking several yards away from the action, “Seashore” represents the sort of unfocused aesthetic that might beg the question what the cameraman is looking at exactly, if not for the elliptical editing, which further hides clues that would no doubt have been helpful in acquainting ourselves with its two teen protags. Though right at home in Berlin’s often-challenging Forum section, “Seashore” will have a harder time finding sufficiently patient ports among LGBT fests. At least, that’s a best-guess description of adolescence-obsessed shorts directors Filipe Matzembacher and Marcio Reolon’s first feature, which is so thin on specifics that it’s often difficult to discern exactly what is going on between its two young leads. Blue is a fairly tepid color in “Seashore,” an agonizingly subtle Brazilian coming-of-ager in which a bi-curious teen ever so tentatively tests the water of his sexuality during a few days at the coast with a semi-estranged gay friend.
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