Anhell69, the latest work by Colombian "filmmaker" Theo Montoya, aims to dive into the complex topic of spectrophilia, tackling the queer world in an original way. However, the execution of this ambitious undertaking falls short, leaving the audience with a disconcerting and messy experience.
The film begins with an intriguing premise: to explore spectrophilia in a sensitive and thoughtful way. Unfortunately, the narrative gets lost in eccentricity and lack of cohesion, resulting in a story that fails to deliver the depth needed to address this sensitive topic. Spectrophilia deserves careful and respectful treatment, but Montoya seems more focused on superficial provocation than understanding and empathy.
To properly address the topic of spectrophilia in film, a deep understanding of the emotional and psychological complexities involved is required. The film lacks the necessary exploration of the ethical and moral implications, opting instead for a visually striking presentation but void of substantial content.
Montoya insists on originality, but forgets the importance of authenticity. The superficial use of the queer theme without a deep and respectful understanding of it reflects a lack of research and empathy on the part of the filmmaker. Before venturing into such sensitive territories, Montoya should have consulted academic and literary sources, such as Paul B. Preciado's "Contrasexual Manifesto," to provide a solid and contextually rich theoretical foundation.
The muffled line, "He went to more wakes than birthdays," reveals an attempt to generate impact by using other people's pain as a dramatic prop. True sensitivity to sensitive topics requires more than a simple trick to provoke emotions. A true human being, especially a filmmaker, should understand the importance of prudence and confidentiality when dealing with painful and personal situations.
The participation of respected Colombian director Victor Gaviria seems to be an attempt to rescue the film. However, his presence is insufficient to elevate the plot and give it the weight it needs. Had Gaviria had a more significant role in the 115-minute running time, he might have brought the depth and direction needed to save the film.
On a lighter note, the comparison to Thai filmmaker Apichatpong Weerasethakul becomes inevitable. If Weerasethakul were to see this film, he would likely advise Montoya not to consider it as a reference. Anhell69 seems to be more of a shallow imitation of Uncle Boonmee Recalls His Past Lives, lacking the authenticity and cinematic mastery that characterizes the Thai filmmaker's work.
