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And if the enjoyable, wish-fulfilment finale defies credibility a little, well, why not? Just because something is a fantasy doesn’t mean the needs it can satisfy are not very real.S parta. So although its more prosaic side never quite gels with its outré sex-whimsy, and women are almost of necessity sidelined, and the romantic and sexual availability of young, horny, extremely attractive men to this rather self-pitying sadsack remains somewhat mysterious, “Dry Wind” jerkily matures into a gratifyingly oddball display of sex- and kink-positivity. And from the raspy velcroing of two beards rubbing against each other to the dirt of the forest floor working its way into moaning mouths and writhing joints, the film is not just about sexual fantasy, it is unashamedly fascinated by the reality too. The warm electro pulsations and gyrations of Natalia Petrutes’ score complement the expressive, textural potential of Machado’s cinematography, from the evocative opening, which is simply a massive sheet of pale canvas billowing in the wind, to the contrast between droplets beading on the curls of a hairy back and water pearling on the tattooed neck of a young Adonis. Still, Nolasco’s film makes the most of its craft. The mischievousness of the fantasies that purportedly spring from him are somewhat gainsaid by his hangdog stolidity. If there’s a disconnect, it’s that it is a wit that Sandro himself never seems to possess. It makes them almost sweet, and rather hot, instead of gratuitous, although they’re practically the definition of gratuitous.
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There is such a dextrous wit to these defiantly subversive scenes that somehow even the sleaziest of them - and “Dry Wind” contains the single most explicit act of unsimulated fellatio (to “completion”) that you will find this side of porn - is interpreted with a strange gentleness.
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Or, to use the collective noun, a full Village People. A trip to a nightclub, following a stalkerish act of seat-sniffing, becomes an odyssey through a Tom of Finland tableau vivant, as stubbly a drag queen leads Sandro into a warehouse featuring every masc gay stereotype imaginable. A police interrogation is carried out by a tattooed, truncheon-wielding Übermensch whose pectorals can scarcely be contained by his clinging uniform. Except that then Maicon, who also comes to work at the factory which seems to be the sole employer in the area, takes up with Ricardo, and Sandro has to deal (badly, pettily) with being frozen out entirely.ĭuring this period, his lapses into a dreamstate characterized by extravagantly exaggerated gay iconography become more frequent. So much so that he all but rejects the charming Ricardo, the better to pursue his unhealthy fixation on the newcomer. Leaning against a motorbike, clad in leather and mirrored sunglasses, his slicked-back peroxide hair hidden under a biker’s cap, Maicon is a gay beefcake fantasy made flesh, and Sandro is instantly obsessed. But with a change in tone so abrupt as to be jarring, reflected even in the lighting, as DP Larry Machado’s photography clicks over from the sandy daytime pallor of Brazil’s arid Midwest to the hot pinks and sleazy neons of a night in some metropolitan underbelly, we’re introduced to Maicon (Rafael Theophilo).
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For a time, this seems to be the movie Nolasco is making: a sensitively observed, unusually graphic gay romance that will perhaps chart a relationship marked by disparity in age and appearance and status - marital and otherwise.