Los amantes astronautas

I just finished The Astronaut Lovers (Los Amantes Astronautas), and honestly, I really enjoyed it. It's a beautifully shot, slow-burn romance that plays with themes of friendship, identity, and the blurred lines between platonic and romantic feelings.

The story follows Pedro, who comes back to Argentina for a vacation and reconnects with his childhood friend, Maxi. What starts as a lighthearted, almost teasing dynamic between them slowly unravels into something deeper. The film doesn't rush anything-it lingers in quiet moments, loaded glances, and the kind of tension that makes you hold your breath.

Lautaro Bettoni and Javier Orán have fantastic chemistry. Their performances feel natural, making every interaction between them feel authentic, even when their characters are caught up in confusion and miscommunication. There's humor woven into the dialogue, but it never undercuts the emotional weight of their connection-it actually makes it feel more real.

Visually, the film is stunning. The coastal setting is the perfect backdrop, creating this sense of openness and freedom, but also a quiet loneliness that reflects what's happening between Pedro and Maxi. Marco Berger's direction is subtle, letting the emotions simmer rather than forcing them, which I really appreciated.

I love how the film explores attraction and desire without needing grand gestures or over-the-top drama. It's intimate, honest, and beautifully restrained in a way that lingers with you. If you're into queer cinema with a strong emotional core and a thoughtful take on love and self-discovery, The Astronaut Lovers is definitely worth watching.

Argentine Writer/Director Marco Berger once again repeats the same formula used in his previous productions such as 'Plan B' (2009) and 'Hawaii' (2013): two young men, both sexually fluid, who were childhood friends and eventually develop a deep love for one another. Nonetheless, it works!

This film touches on one of the ultimate gay fantasies, where true, honest, and eternal love may exist between any two men. The dialog and intimate visual imagery, without a single sex scene, are superb and hit the mark by creating anticipation throughout the narrative and that 'feel good' sensation in the end.

After a decade of great films exploring male sexuality, Marco Berger (Plan B, The Blonde One) is back with his best and most accomplished film to date.

This time around he delivers an inspired romantic comedy packed with funny moments and excellent performances from the leads (Lautaro Bettoni and Javier Orán) as two childhood friends reunited as adults.

There is a lot to like about this film.

The long shots and conflict-free script create the perfect intimacy set for their friendship to flourish into something more. I also enjoyed the soundtrack (which elevates some of the key scenes) and the strong supporting cast.

One of the best gay films in recent memory. Highly recommended.

Having watched all of Berger's movies I was surprised that this time around he decided to actually show what one of the character's fantasies and more importantly to let them communicate like humans.

Javier Oran is one of the best actors Berger has found not just for this movie, he obviously elevates Bettoni's performance and brings nuances to Berger's dialogues with which most actors usually struggle.

Getting these actors and obviously more financing probably forced Berger to create one of his most sanitized films to-date. For someone unafraid of full frontals, his decision of not even showing the consumation of the will-they-wont-they dynamic seems extremely out of character. It reminded me of Guadagino's decision to move the camera away instead of showing us what we would definitely see if the scene were between a straight couple.

I have complained in the past of the monotony in most of Berger's movies. However, this time I missed having some of his signature style: silence and close-ups, letting us imagine just for a little while what the characters were thinking of..I would have appreciated it at least once.

I also want to recognize that we have better actors in supporting roles, especially Pedro's cousin and his girlfriend (not Sabrina, sadly) and that Berger allowed them to state the obvious: that our two main characters spend so much time together. It's at least a cute wink given that Maxi is friends with everyone else in that house and they are constantly together only because the script needs them to.

Even if Pedro and Maxi's private exchanges become a little tiresome towards the end (and gross), I choose to stick with the better parts of the movie: the main actors and my renewed interest in this filmmaker's work. Hopefully he'll be able to create in the future something that happens in just one night (or in the span of several weeks) making more plausible the constant exchange between males that he loves to portray.

It is difficult to describe this film, as it was excellent in its simplicity. I feel that it was very much what Berger does, and at the same time it departed from his traditional films to present something better and more positive.

Of course Berger is a filmmaker more focused on everyday life than in specific events, so people who need a plot rich in action may find it boring. For others, like myself, there is profound beauty in 'life as it is'. So the plot is really fantastic in its capacity to contribute to a great film in spite of its simplicity.

Another point is that his films are essays on sexuality and gender, and those dimensions are very much nested in local cultures, so this is much better understood by fellow urban Latin American viewers like myself.

In that sense, I think that the development of the two main characters, in their psychological complexity, was also a great accomplishment. They are a delight. Moreover, without affecting the plot's simplicity, the dialogues are charming - humorous and very intelligent, and the acting of the two leads is phenomenal. All this gets integrated into a more mature film of this author, one that, despite the sexual content of conversations, is still deeply romantic, producing a great romantic comedy delivering a message that even today is somewhat avant-garde.