Te estoy amando locamente

Seville, 1977. At a time when homosexuality is a crime, Reme (Ana Wagener), a traditional mother moved by love for her son (Omar Banana), a teenage aspiring artist , will become involved in the Andalusian LGTBI movement, paradoxically created within the Church. Following in detail the worried mother and her gay son, both of whom involved in the homosexual movement of the seventies. As the talented young man is desperate to appear in a contest to demonstrate his singing skills. Even before trying his luck in the TVE contest, the laws that persecute homosexuality complicate his life, forcing his mother to fight, she the only one who seem to care that a child sleeps behind bars for painting his eyes.

Te estoy amando locamente (2023) belongs to that peculiar genre of cinema between vindication in which a mother get involved in the Andalusian LGTBI movement, and uproar that is enjoyed unintentionally and amusing at times. A film as enjoyable as it is effective, as painful at times as it is pleasant. It is an attractive and sympathetic film in the wake of 'Pride (Orgullo)' (M. Warchus, 2014), with a good chorus of main and secondary actors and a lot of characters that allow, at the same time, to understand the situations with a certain joy despite some misfortunes that befall the protagonists, the commitment and the struggle in those days. The best thing about the film is the mother well played by Ana Wagener and the arrival of Omar Banana to the big screen, along with a good plethora of secondaries, such as: Alba Flores, Jesús Carroza, Pepa Gracia, Manuel Morón, Mari Paz Sayago, among others. The worst of the movie is its disjointed and messy form, that's why it makes his intentions confusing.

The film makes a sharp criticism of certain Francoist laws, especially : ¨Law 16/1970, of August 4 on dangerousness and social rehabilitation¨, it was a penal law of Spain approved during the Franco regime on August 5, 1970. It mainly replaced the 'Law on vagrants and thugs' to control all elements considered antisocial. These included those who practiced begging, homosexuality, vandalism, drug trafficking and consumption, the sale of pornography, prostitution and pimping, as well as illegal immigrants and anyone considered morally or socially dangerous for the dictatorship.

Although what attracts me is the nostalgic tone that the film displays with catching musical score by Nico Casal and the inclusion of many songs at the time, such as the following: ¨Yo no soy ésa¨ written, performed by Mari Trini; ¨Yo solo quiero amor¨ written, performed by Rigoberta Bandini ; ¨I Love to Love¨ written by James Bolden and Jack Robinson, performed by Tina Charles; ¨A tu vera¨written by Juan Solano and Rafael de León, performed by La Dani; ¨Te estoy amando locamente¨ written by Felipe Campuzano , performed by Las Grecas; ¨Don't Leave Me This Way¨ written by Leon Huff, Kenny Gamble, performed by Harold Melvin & The Blue Notes; ¨Suite Española. Nº1 Granada¨ written by Isaac Albéniz, performed by Nico Casal.

Andreu Ortoll's cinematography stands out with colorful views of the wonderful city of Seville, although not too many, as would have been more necessary. The film was unevenly made by Alejandro Marín with many ups and downs. Alejandro had previously directed a few shorts, television movies or films, such as La filla d'algú, Nacho no conduce, Laborable, Una Navidad con Samantha Hudson and Maricón perdido. 'Te estoy amando locamente' (2023) rating: 5.5/10.

"Miguel" (Omar Banana) knows how to strut his stuff, Donna Summer style, but his mother "Reme" (Ana Wagener) isn't quite clued into the ramifications of his hip swaying and flamboyance until an altercation at a wedding brings her face to face with an an uncomfortable truth in 1970s Spain. She's terrified he will find himself in trouble and she isn't far wrong after he leaves home and moves in with some protesting theatrical types who are determined to see the laws that support the oppression of the gay community struck down now that the era of fascism has officially ended. He has some talent does young "Miguel" and so they propose to give him a slot on stage at their drag night, but his nerves find him accidentally on the wrong side of a fire door and in the hands of the law. They draft in a friendly lawyer but as neither she nor his mother can talk to him in custody, they all have to resort to other forms of protest to try to win both his and their freedom. Wagener leads an ensemble cast that just about holds this quite flaky story together, but the emphasis of the plot is really much more to do with the ridiculousness of legislation that bundles homosexuality in with vagrancy, petty thievery and street walkers. Much of their planning goes on right under the nose of the less that supportive church which adds a fun bit of irony to the plot, too. As a feature, it's not really the best and the production isn't great either, but it delivers it's message entertainingly allowing the absurdity of the law and of the small-town gossiping mentality to speak for themselves.