Listen, kid, we’re all in it together — Shlomo (Germano Hauit, r) and Mauro (Michel Joelsas)
In 1970, Brazil was in the middle of a period of military dictatorship dubbed “the lead years.” Needless to say, 1970 was not a good time to be a Brazilian political dissident. However, in the era of Pelé, it was a great time to be a soccer fan.
The Year My Parents Went on Vacation looks at Brazilian politics and soccer through the eyes of a 12-year-old boy named Mauro (Michel Joelsas). The film begins with Mauro’s parents telling their son that they must go on “vacation” and that the boy will stay with his grandfather, whom he’s never met. They drop him off in front of the grandfather’s apartment complex and drive off, presumably to hide from the military police. Mauro soon discovers that his grandfather died that very afternoon, and he has essentially been abandoned. Luckily, his grandfather was respected by the surrounding Jewish community, and his next-door neighbour Shlomo (Germano Hauit) reluctantly cares for Mauro while he waits for his parents, who have promised to return before the beginning of the World Cup.
From there, the film’s 100 minutes move slowly, but as Mauro waits (and manages to make some friends and play some football), director Cao Hamburger creates a gorgeous portrait of both a country and a boy going through tremendous highs and lows. The film is shot beautifully, and the acting — particularly that of the children — is subtle but masterful. Mauro’s sad, big eyes make up for the slow pace and scarce dialogue, and Daniela Piepszyk is equally skilled as Hanna, a sassy no-nonsense neighbour girl. They both manage to convey the heartbreak of the times without resorting to tears or sentimentality.
It is because of the children that The Year My Parents Went on Vacation succeeds so well. It’s a movie about politics, soccer, national identity and multiculturalism, but because it’s all presented through a young boy’s eyes, everything is boiled down to basic, innocent terms — the football and the friendship are all that matter to Mauro. It may be simplistic in its depiction of the political climate, but its emphasis on the small stuff is what makes this film so big.
