The short film Progressive Touch takes an avant-garde approach to explore human relationships, sexuality, and physical harmony. While it succeeds in creating a visually distinct and innovative atmosphere, with a focus on bodily movements and musical coordination, it appears to lack the depth of content needed to reinforce this form effectively. Although works that emphasize form can be impactful, without a meaningful and substantial content underpinning this approach, it risks becoming a fleeting visual experience that is easily forgotten.
In this film, three different episodes focus on presenting sexual interactions, yet the attempt to synchronize music and bodily movements is not fully successful. The illusion of harmony here is largely crafted through lighting and color, which, though visually appealing, cannot compensate for the lack of conceptual depth. Simply put, when there's no genuine synergy between form and content, form itself becomes a decorative experience, failing to convey any profound meaning to the audience.
Acting in Progressive Touch also stands as a weakness. Although actors like Juan Felipe Amaya González and Deva Schubert deliver commendable performances that contribute to the experience, the other actors struggle to leave a mark and fail to align with the film's experimental atmosphere. This shortcoming in acting affects the overall experience of the film, detracting from its ability to convey meaning and emotion effectively.
Ultimately, while Progressive Touch brings intriguing and daring ideas in terms of form, it fails to meet expectations on the content front. Works that rely solely on form, without substantive meaning, often leave audiences stranded halfway, reduced to a superficial visual encounter. Although the director's efforts to create an avant-garde piece are admirable, had there been equal attention given to both form and depth, this film might have become a memorable experimental piece.
