Toronto 2024 Review: CARNIVAL IS OVER, Neo-Noir Thriller Packed With Humor, Danger and Twists

Brazilian director Fernando Coimbra made a strong impression with his debut feature, A Wolf at the Door, which premiered at the 2013 Toronto International Film Festival and quickly caught Hollywood's attention.

His work earned him a nomination for best Debut Director at the prestigious Directors Guild of America Awards and led to directing jobs on Netflix's Narcos and HBO's Perry Mason. He also directed 2017's Sand Castle, starring Henry Cavill, Glen Powell, and Nicholas Hoult.

Coimbra returns to his Brazilian roots for his third film, Carnival Is Over, a sharp, nasty neo-noir that also world-premiered at TIFF and is poised to find a receptive audience. Carnival Is Over refers to the pile-up of catastrophes the protagonists face following a fateful decision.

Films like The Postman Always Rings Twice and Body Heat--sexy, noirish tales of murder and ambition--are in short supply these days. Coimbra taps into that unmet need with Carnival Is Over. Coimbra adds in a dash of Macbeth for good measure to craft a heady, compelling brew.

Regina (Leandra Leal) and Valério (Irandhir Santos) have returned from Florida to Rio to take over Valério's late father Ronaldo's gambling and money laundering operation. They suspect Ronaldo was murdered by his own brother, Valério's uncle Linduarte, in an effort to seize control of the family business.

Meanwhile, other crime bosses--Rodrigues (Ernani Moraes) and Abelardo (Ricardo Bittencourt)--are watching like hawks, ready to exploit Valério's family situation. Regina manipulates Valério into killing Linduarte to claim the entire operation for themselves and take on Rodrigues and Abelardo for control of the whole crime business in Rio.

It is primarily the tone of Coimbra's noir that distinguishes it from other doomy, bleak tales of murder and its consequences. Carnival Is Over is playful, ironic, light on its feet, and even laugh-out-loud funny in portions, despite the high body count and the suspense of the police investigation.

Irene Ravache, as Helena, Regina's tarot-reading mother, contributes to the proceedings' comedic nature. She provides hilariously terrible counsel, making Regina's manipulation of Valerio seem sane in comparison.

Carnival Is Over includes a psycho-sexual layer to Regina and Valério's relationship as they get off on lurid role-play; he dons a mask as a burglar and has forceful (though completely consensual) sex with her while she simultaneously strangles him with a rope.

Also befitting its underworld crime setting, numerous hits, stabbings, executions, and shootouts are part of the plot. Coimbra, however, keeps things discreet. The sex scenes are entirely devoid of nudity, and most of the graphic violence occurs offscreen, just beyond the frame, making for an R-rated picture that isn't off-putting and remains accessible to a broad audience.

Coimbra's Hollywood experience shines through in Carnival Is Over, which boasts slick production values, interesting art direction, crisp cinematography and sharp editing that keep the story moving along without sacrificing character moments. The excellent performances strike the balance between dark humor and tension.

Irandhir Santos, initially overwhelmed with his responsibilities, musters up genuine machismo and swagger as he grows into a crime boss. Top-billed Leandra Leal is ultimately the true protagonist, has the wildest arc and delivers full tilt on every disastrous left turn her character takes. It is rare for a noir to hinge so decisively on the wife/girlfriend character, but it does so here in unexpected and shocking ways.

One of Carnival Is Over's greatest assets is its unpredictability and element of surprise. The numerous gasps during the startling last act attest to the audience being thoroughly engrossed and entertained.

The film ultimately serves as a cold, rational-headed ode to self-preservation--at any cost whatsoever. "Always cover your ass," they teach you in consulting firms, and Coimbra pushes that notion to the brink, challenging the audience to consider the compromises and concessions they'd be willing to make if their own lives were at stake.

Carnival Is Over is a dark, delectable treat--a poisonous bonbon--that enthralls and repels in equal measure. Audiences that give it a chance will be richly rewarded. It wouldn't be surprising to see a wave of remakes, in English or other languages, following in its wake.