Written and directed by Carolina Markowicz, TOLL tells the story of Suellen (Maeve Jinkings), a toll booth attendant who is struggling with her teenage son’s sexuality. When she hears of a local gay conversion workshop, she believes that it’s the best way to have him ‘fixed’ yet cannot afford the cost. However, when she realizes that her role at the toll booth can aid a gang of thieves, she convinces herself that the financial help is more important than the compromises she would be forced to make. But, her decision to cross the line threatens more than she expects.
After the success of her film Charcoal, Markowicz continues to show her incredible insightfulness of Brazilian culture, holding it accountable for its brokenness while honouring the heart of its people. There’s a dark humour embedded within Markowicz’ work that helps the viewer to both be horrified and laugh at the same time.
In TOLL, the director continues this blend of shadows and satire by placing the notion of normalcy within her culture on trial. Setting the film in a community that’s founded on religious interests, Suellen is a character who wants any potential issues with her son to simply disappear. In her world, the meaning of ‘normal’ has been established by the church but is not exclusive to it. As such, this is a world that cares about the appearance of normalcy, yet seems completely unaware of their own hypocrisy. Although they pick on the LGBTQIA community as “sinful”, they refuse to acknowledge their own flaws.
Interestingly, Markowicz uses the toll booth as a fascinating metaphor. In many ways, Suellen is a gatekeeper, deciding who may or may not enter her country. Here, the booth represents authority and accountability. Similarly, each of Markowicz’ characters tries to maintain the appearance of piety… but carries their own secrets as well.
TOLL is now playing at SXSW ’24. For more information, click here.
