‘The Riverbank’ tops 2026 Festival do Rio lineup
On Behalf Of My Son wins three including audience award for fiction.
Source: Screen Daily · October 12, 2026 at 10:32 AM · AI-assisted report
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RIO DE JANEIRO (CINE ODEON), 12 OCTOBER 2026 —
Festival do Rio 2026: The Riverbank Dominates with Five Wins Amid Brazil’s Political Tensions
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The Riverbank (A Margem do Rio), a queer erotic thriller depicting the systemic violence faced by Brazil’s LGBTQIA+ community, swept five awards at the 28th Festival do Rio, including Best Fiction Feature and the Audience Award for Fiction.
The film’s triumph—announced at the Redentor ceremony in Rio de Janeiro’s historic Cine Odeon on October 11—comes as Brazil’s presidential election run-off looms, with incumbent President Luiz Inácio Lula da Silva facing off against far-right Senator Flávio Bolsonaro on October 25. The awards underscore both the artistic resilience of queer storytelling and the heightened political stakes surrounding cultural expression in the country.
The victory of The Riverbank, directed by Matheus Farias and Enock Carvalho, reflects a broader industry shift toward narratives that challenge Brazil’s conservative backlash. The film’s narrative—set in the mangroves of Recife—centers on a young queer man who cleans a neo-Pentecostal church by day and seeks intimacy with a mysterious fisherman by night. As he confronts his employer’s violent, fundamentalist family, the story blends suspense, noir aesthetics, and magical realism to critique religious extremism.
Its awards—including Best Supporting Actress for Renna Costa, Artia, and Ísis Broken; Best Cinematography for Luciana Baseggio; and Best Sound for Moabe Filho, Guma Farias, Daniel Turini, and João Victor Coura—highlight its technical and thematic mastery. The film also earned the Felix Awards jury’s recognition for its contribution to queer culture, a nod to its unflinching portrayal of marginalized voices.
The Riverbank’s success contrasts sharply with Brazil’s political climate, where far-right rhetoric has intensified ahead of the election. The film’s release aligns with growing concerns over potential rollbacks to LGBTQIA+ rights under a Bolsonaro administration, which has historically opposed progressive policies on gender and sexuality. The festival’s timing—just days before the run-off—amplifies its message, as cultural institutions increasingly use art as a counter-narrative to political repression.
"The Riverbank doesn’t just tell a story; it forces viewers to confront the reality of what it means to live in a society that criminalizes love," said Ítalo Martins, who plays the enigmatic fisherman in the film.
Meanwhile, On Behalf of My Son, directed by Gabriel Martins, secured three awards, including Best Director and Best Screenplay for Martins, as well as the Audience Award for Fiction. The film follows a retired teacher who apologizes to the families of victims killed in a car accident caused by her son, exploring themes of guilt, redemption, and family dysfunction. Its wins underscore the festival’s commitment to diverse storytelling, from psychological drama to animated features.
The Special Jury Prize went to Son of a Bitch, an animated film by Erica Maradona, Tania Anaya, Otto Guerra, and Sávio Leite, which follows a brothel owner’s son and his three-legged dog on a comedic journey through Brazil’s sertão.
Internationally, the festival’s Première Brasil section also drew attention to global talent, with Universal Pictures’ Other Mommy—starring Loreto Mauleón (Patria, The Snow Girl)—achieving second place in the global ranking. The film, which began shooting on September 30, marks a significant entry into the international market, signaling growing interest in Latin American cinema.
Other winners included The Education of Jane Cumming, Skintown, and Lady, further cementing the Festival do Rio as a platform for both regional and transnational filmmakers.
For Malaysia and Southeast Asia, the festival’s outcomes carry broader implications for cultural diplomacy and regional film industries. Brazil’s thriving queer cinema—despite political challenges—offers a model for how art can challenge conservative narratives, a relevant parallel in countries like Malaysia, where LGBTQIA+ rights remain contentious. The awards also highlight the economic potential of Latin American cinema, with films like The Riverbank and Other Mommy poised for festival circuits and potential co-productions with Asian markets.
As Brazil’s election unfolds, the festival’s artistic achievements serve as a reminder of the power of cinema to both reflect and resist societal pressures.
The next steps for the winning films include potential submissions to major international festivals, such as Cannes, Berlin, or the Asian Film Festival, where The Riverbank’s themes of oppression and resilience could resonate strongly. For Brazil, the awards also signal a moment of cultural defiance ahead of the election, with filmmakers using their work to amplify marginalized voices in an increasingly polarized political landscape.
The Festival do Rio’s 2026 edition closes with these victories as a testament to the enduring power of cinema to challenge, inspire, and provoke dialogue.
Related: Festival do Rio