Rotting in the Sun

So this is of course polarizing and yes, Silva does have a tendency to deliberately shock for no dramatic purpose, but this film is carried by his muse Catalina Saavedra who helped him to stardom as "La Nana" (2009) which won Sundance back in the day. Silva then moved to the US and made one terrible film after another, all lacking the ingenious timing of "La Nana", so he has good reasons to be depressed and suicidal. This film is obviously a cleansing ritual of sorts, Silva kills himself to be born again, and while this may seem terribly self-centered, it does provide one of the most neglected actresses a chance to show her vast range.

It's also a rare satire of hedonistic queer life as only Almodóvar did before respectability killed his genius, also in collaboration with muses, most importantly Carmen Maura. It's no coincidence that Saavedra's part has similarities with Maura's in "What have I done to deserve this" (1984). Firstman is pretty gutsy doing a role like this (just imagine, Michael Cera turned it down). He is an Instagramer and this film makes you hate them even more. Most people don't seem to get the allegory of the artist working on film and canvas (which Saavedra destroys in her first scene) being replaced by the digital usurper, although that elevates the film to social criticism.

For me it's a positive surprise as I didn't expect much from it, but the shock value for non-gays makes it niche. To paraphrase a Latino saying, Americans just can't look cocks in the eye(s).

When an overwrought, angst-ridden, drug addicted filmmaker (Sebastián Silva playing a fictional version of himself) unexpectedly meets a wacky, unhinged comedian/social media influencer (Jordan Firstman playing a fictional version of himself) at a gay Mexican beach resort, the troubled director does all he can to distance himself from his new acquaintance when he becomes interminably annoying, especially in his incessant, unfocused pitches for collaborating on a new movie project. But, when the financially strapped filmmaker returns to his home in Mexico City, he reluctantly relents on the comic's offer when all his other production proposals are turned down by would-be backers. He thus invites his new writing partner to come stay with him while they hammer out the script, but, upon his collaborator's arrival, he finds the director has mysteriously disappeared. What ensues is a humorous gay comedy-mystery in which clues about the disappearance slowly emerge. At the same time, however, the story also delves into some surprisingly mature and insightful themes, developments very much in contrast to the film's screwball narrative and its somewhat manic opening act. Writer-director Silva's latest thus presents viewers with an intriguing combination of plot elements that one might think shouldn't belong in the same picture but that work surprisingly well together. While it's true that the ending seems somewhat abrupt and that some segments run on a little too long (particularly in the first half-hour), with a few others that could have been omitted entirely, the majority of the material nevertheless holds together well, making for an entertaining, if somewhat offbeat, time at the movies. Sensitive viewers are strongly cautioned, however, that the film features numerous scenes with explicit depictions of gay male sexuality, so those who are easily given to offense may wish to pass on this unrated release. Those considerations aside, though, this is a film that's more than it might superficially seem, particularly the further one gets into the story. It's quite an eye-opening ride into a world that many may be unfamiliar with, but it's also one that simultaneously makes us laugh and makes us think - a rare combination to be found in the same picture, to be sure.

This is being advertised as a party comedy. It's definitely not. It's an extremely tense and chaotic film, and when there is humor, it's during uncomfortable moments so you're ambivalent about laughing. But it is very effective, and I think it might be profound (i'm still digesting it)

This film seems to examine the contrasts within the gay community between hedonistic abandon and self-hate. It shows these elements living simultaneously and seems to unite what would seem to be incompatible opposites.

Jordan Firstman plays a boisterous, fun-loving social media influencer that can't take anything seriously. Sebastian Silva plays a nihilistic depressive to does drugs not for fun but to feel numb and dead. When Sebastian goes missing, Jordan is forced inside of Sebastian's world where the misery he left behind begins to infect Jordan.

In a sense, both of these characters are initially unlikable in their extremes. You desperately want Sebastian to get out of his head and see the beauty around him, but you're also begging Jordan to stop treating everything like a game, and yet when Jordan slowly but surely starts absorbing Sebastian's dark persona you feel awful about it. This film is definitely a smorgasbord of mixed feelings.

But the most powerful weapon this film has is Catalina Saavedra's performance as Vera, an employee of Sebastian's landlord, who is living with terrible trauma, guilt and fear. Her acting reaches right into your guts and rips them apart. Powerful stuff.

Yet it's the metaphorical implications of this film that truly eat away at you once the film ends. You can't let go of these very real feeling people, who are all different, who are all chaotic, and all wind up in the same mess. Along with examinations of the gay community, it textures that with other kinds of culture clashes. Cultures within cultures within cultures. All falling into one dark hole of a mystery at once.

I'll say 9/10 for now, but depending how I feel when I wake up tomorrow, it might be a perfect 10.

I'm gonna be chewing on this one for a while. I'm writing this review to help me digest it. It's that kind of film. Heavy.

Whether or not this film is for you I can't say, but I can definitely warn that it is not a comedy. It is a dark and disturbing film that plays with your emotions and leaves you feeling messed up. But if you can appreciate that sort of thing, then this film is excellent.

Without giving too much away, this film took an unexpected turn halfway through and so it's almost like it becomes it's own sequel. There was a Hitchhockian angle to the way the film changes pace, and it became almost stressful to watch at times. I enjoyed the disoriented feel, a kind of metaverse vibe to it. It's really daring in the best possible way. Also offers a lot of social commentary on the poverty divide in Mexico, with the complete ignorance of the rich to how the poor live and the physical division of neighbourhoods. Of course it's also full of cocks so just a warning if you are easily offended by male nudity, this one is not for you.

I just loved watching this movie. Hard to watch in some parts but overall this is a modern age art film at his best.

It was such an interesting idea from the director to come out with this story. It's like a moodboard of the queer community but also about the difference between being a local or a visitor in a foreign country.

I wasn't expecting the twist through not even halfway the movie. The character of Vero is silly but also brilliant. Jordan is just being Jordan and we just love to watch. Like he said, he's a happy clown!

Between all the shots on the dicks, the Hitchcock mystery or the drugs use, this movie was very original and it just shows that you don't need alot of budget or material to make a movie that will catch your attention and made you think after.

It is also refreshing to watch a queer movie that is not about finding your identity or about love.

We need more projects between Sebastian and Jordan!!