THE STORY – Inspired by the illegal universe of the Brazilian animal lottery, a fearless young man must win a deadly race to save his sister in a dystopian future where each animal in the game is now represented by a runner vying for a prize.
THE CAST – Matheus Abreu, Rodrigo Santoro, Isis Valverde, Bruno Gagliasso & Seu Jorge
THE TEAM – Ernesto Solis (Director/Writer), Rodrigo Pesavento, Fernando Meirelles (Directors), Rodrigo Lages, Eva Klaver & Marco Abujamra (Writers)
THE RUNNING TIME – 124 Minutes
With Brazilian cinema in the mainstream after recent successes like “I’m Still Here” and “The Secret Agent,” it was only a matter of time before something heavier in genre fare stole the spotlight. That’s probably why “Beast Race” caught my eye on this year’s SXSW lineup, along with the fact that co-director Fernando Meirelles is working on his first non-English-language feature since “City of God” back in 2002. It’s a madcap dystopian action flick with a premise that is essentially the Latin American answer to “Squid Game,” and while “Beast Race” never measures up to anything besides its ingenious concept, when the film puts audiences in the thick of it, they’ll be feeling more than the runner’s high as these competitors sprint for survival.
“Beast Race,” which takes place forty-five years after The Great Catastrophe, has further divided the citizens of Rio de Janeiro by class, with the elites spending their days in luxury while the poor fight to persevere. The end of society also brought the return of the Animal Game, which was once illegal, but now is the most popular sporting event to watch, and hopefully get rich from. Those who compete take on the mantle of animals and must finish each race in the season to win big; if they lose, they forfeit someone they love, who they serve up as collateral to enter the competition. There are many opposed to the game, including Matheus Abreu’s Mano, a hunter who lives in the restricted zone and hunts animals in a display of revolt against the powers that be. His staunch feelings towards the Animal Game are challenged when his sister volunteers to be put up as collateral, prompting him to participate to ensure her survival.
Audiences watch Mano push himself to his physical and mental limits as he navigates the games alongside Ísis Valverde’s Nadine, a wealthy player whose mysterious motivations are set aside as she guides Mano through the races like a coach. Together, they have to put aside their differences not only to win, but also to spark change within the system. Early on, it’s apparent that “Best Race” is a film purely held together by the duct tape of its creative premise and the direction of Ernesto Solis, Rodrigo Pesavento, and Fernando Meirelles. Each race is conceived with enough dynamism to plunge our protagonist into the absolute worst scenario, maximizing audience entertainment. Mano has to outmaneuver and outstrategize veterans in a game he not only abhors but is forced to learn throughout, while higher powers begin to impede his chances the further he progresses. Each race is well designed, as Meirelles, Ribeiro, and Espinosa create dynamic environments for our Animals to run, jump, and fight through.
No race ever feels rehashed, further adding to the unpredictability while watching like it’s an actual sporting event. The production design by Tulé Peake also lends itself to the originality of the set pieces, whether the animals are springing through the forest or the high rises of Rio. It also makes up for the spotty special effects, which are quite noticeable in its attempt to create an apocalyptic setting. Most of the performances are solid, as Abreu’s physicality is relied on far more than his ability to deliver a line. He’s a dependable performer, but the character itself doesn’t require much of him to do anything besides move his legs. Rodrigo Santoro’s Abu, a former animal turned game manager, is, on the other hand, maybe the most intriguing character due to Santoro’s lively performance. His devilish charisma masks a power-drunk man so desperate to fit in a place he’ll never be accepted in. He’s by far the most well-rounded character, even though his motivations are one-note, even in comparison to the other antagonists.
Where “Beast Race” falters is the screenplay’s incredibly mismatched structure, most likely due to the involvement of four writers who begin planting seeds for storylines that are either rushed or unresolved. Solis, alongside Rodrigo Lages, Eva Klaver, and Marco Abujamra, has too much on their minds as they explore the different layers through which the game operates. Everything involving those revolting the Animal Games themselves is merely an obstacle that could be further developed if a sequel were ever greenlit. The forced romantic subplot involving Mano and Nadine as they grow closer is also contrived, as the two actors’ chemistry rests solely on their physical attributes. The worldbuilding is subpar, underdeveloped, and fails to capture the intricacies of how the games work and the power brokers involved.
The propulsive set pieces are more than enough to keep audiences hooked, but many will leave their heads scratching over why a large majority of the story remains up in the air. The first installments in a series have been far more cohesive and more in line with their narratives than what happens at the end of “Beast Race”. But if there’s one thing Brazilians do, it’s turn out for their own, so it wouldn’t come as the slightest shock that a sequel would be fast-tracked into production. Yet one can’t help but wonder whether “Beast Race” was meant to be a television series rather than part of the whole.
