Sisoycsar96

A BITING, COLD, AND INTRIGUING CHRONICLE OF SELF-DISCOVERY, SLOW-SMOKING.

There are films that portray issues that should be left aside, such as the stereotypes and clichés typical of the independent scene, which copy or imitate Hollywood or vice versa. But here's an example of taking something so obvious and over-the-top, something more than superficial and empty, and turning it into a profound and, at times, complex story.

We have Max, a 25-year-old, played by a near-newcomer to the British independent scene: Ruadih Mollica (if you've seen the rough Sunflowers (Australia - 2023) and Liam Mollica, you might be confused by their surnames and even the obvious parallels in their performances). He's pursuing a career as a fledgling writer, but it's marred by a double life. The oldest profession in the world, as we call it here in LATAM, is the world of escorting.

Mollica's performance is spectacular. You rarely see young actors (with or without experience at their young ages) deliver biting and frivolous performances, so in tune with their characters, as if they lived their roles from the inside out. So realistic that sometimes you start to wonder if the actors truly identify with anything in their characters. Bravo to him!

I always had the doubt that if Rualidh and Liam Mollica are related, they've made similarly complex, harsh, and frivolous feature films. And both are even of Italian descent, which raises my suspicions amidst my doubts; unique parallels that are rarely repeated.

But not everything is perfect. The biggest criticism of this film is its slowness and the time lag it occasionally exhibits. It can be confusing since there are no transitions (and if there are, they are very subtle and imperceptible to most viewers). This, coupled with the slowness that sometimes becomes somber and uncomfortable, is overshadowed by the explosive performance of its lead character.

While these complaints are common here and elsewhere, it must be said that this film is not for everyone. It has a complex script, the same one that makes it impossible for every producer to make something similar or the film itself. That's why the producer of this film made the mistakes I already mentioned. Without them, the film would have been more well-received and received better ratings, as the plot and the essence of the script are very good and interesting to bring to the big screen, as these are topics rarely addressed by independent cinema worldwide.

The director/screenwriter, a British man of Finnish descent, made something obvious to many people around the world into something complex. So complex that you reach the end of the film with bated breath. You realize that, despite the flaws listed by this author and others here, the ending is as natural as possible to what was initially presented (although not very obvious to most, another regrettable production error) and doesn't leave you with a terrible disappointment or a bitter taste. However, due to the lack of in-depth exploration of the details that warranted it, it won't be understood by many, since where it needed to be explored, the film seemed to be omitted, and when it didn't need to delve into superfluous matters, it stagnated. But Mollica's performance becomes the savior from the errors that sometimes degrade the film's staging and its good and accurate night photography.

The title of my review is taken from the song "Señora De Madrugada" by Tito Rojas.

A MAGNIFICENT MASTERPIECE ABOUT RESILIENCE AND ADVERSITY IN THE PAST TENSE.

I've never given a film a 10, but this one deserves it. You'll see why.

Few works have so effectively portrayed, over time, all the topics about the most marginalized and oppressed as this documentary, which portrays, in a brutally honest and sincere way, the lives of gays, transvestites (from a US perspective), and drag queens. Despite the hardships and difficulties experienced in the late 1980s with the destructive drug phenomenon and the brutal racism/classism that prevailed, especially due to the virus pandemic, they were able to overcome their sorrows through the art of vogue. A pioneer of the modern drag queen movement.

Its director (although a novice at the time, this was in fact her debut feature) wanted to show us a genuine and explicit documentary in its context. She doesn't neglect humanism by addressing, beyond the glamour and spectacle, human beings with dreams, goals, and aspirations that are often unrealizable, but from an evidently humanitarian perspective, without the embellishments or sweeteners that are often used today. A laudable and endearing documentary.

Thirty-five years have passed since its premiere, and many of the problems and situations depicted here still persist. But even if it wasn't the director's primary intention, it seems in part to be a kind of social critique of American society. Although disguised, it remains an obvious cliché.

This work hasn't been forgotten over time. It's endearing from beginning to end; you notice how the intensity of the stories increases, reaching a climax that never collapses on its own. The real events were never censored (from a journalistic/artistic perspective, they were handled very well), and when it comes to touching on thorny issues, it never fails to appeal to humanism and empathy, which is never hidden but is nevertheless always, or almost always, addressed.

In short, we have a great documentary that should be seen by many, whether or not they are gay or LGBT+, because beyond what you may see as obvious, they are human beings as such. And that humanism so evident in this great work is what it will leave you with the most: a pleasant aftertaste despite the tragic ending, but never fictitious or artificial. It proves that good, real, taboo-free cinema will always be possible. It has been demonstrated since that time, and can still be made without so many prejudices or illogical censorship in these times.

Criticism at the time focused on the "mediocrity" of the characters' lives, but that's insignificant because the documentary doesn't focus on telling that story, but rather on going beyond those simple stories, delving into something that wasn't addressed as well at the time: people's daily lives, their dreams and aspirations, in a way that never feels empty or artificial.

A highly recommended viewing, and I assure you, you won't forget it over time, as it becomes very endearing. With that, you get the impression that this isn't a simple documentary, but a spectacular audiovisual work that could (if it isn't already) become a classic of LGBT+ cinema and the global independent scene.

The title of my review is taken from the song "Licencia Para Amar" by Alfredo Escudero.

HONEY AND SUGAR. A SWEET AND CHARMING CHRONICLE OF A FANTASTIC AND ATYPICAL TEENAGE ROMANCE.

Talking or telling stories about this feature film will always be a source of enthusiasm for me, because it's not just any film. It's not something you see every day. And that's just the beginning.

We have a plot typical of any modern film: kids falling in love, almost-adult teenagers having their first romantic experiences. But the point here is that it's not your typical modern teen romance. It's a turning point.

Spectacular performances! This film was the big-screen debut of both its director and several actors (especially its lead actor). What a way to show complex and intense feelings within the context of a blind person! The way his character handles it, how he interacts with others, and how he develops it down to the smallest detail is spectacular. You can tell he immersed himself in his character at such a young age! Bonus points for him. It's not something you see every day.

One of the criticisms I saw is that it's a kind of "short film extension," and yes, it is, but it has its reasons for being so. Daniel Riveiro, its director, most likely had in mind a film to explain what a short film falls short of, excuse the redundancy. And that's its strange and enigmatic magic; a matter of experimental cinema that many won't understand.

A couple of years ago, I saw this film for the first time, and it evokes the same feelings. Memorable and highly recommended. It's one of those films that stays etched in your mind for various reasons, one of them being the obvious sweetness and intellect displayed without taboos or censorship. The least of these is because we're talking about young people who were almost adults in real life at the time, playing characters who were so adult but at the same time so youthful and refreshing.

While its script is good, like any film, it has its flaws. The lack of depth in certain characters (sometimes bordering on the superficial, like many modern American films that tackle similar plots) can instantly confuse you. Even more so if you haven't seen the short film, the root of this film. However, the epic performances, modest but fantastic photography, and a script that championed tenderness and sweetness in the silent (and even obvious in some cases) protagonists almost perfectly overshadow these shortcomings.

In short, it's a great film to enjoy on those weekend nights if you want the sweetness, charm, and gentle, comforting plot of a teenage romance without the tragic twists and turns of today's films and without those exaggerated and even annoying stereotypes that add little or nothing to the global independent scene.

Once again, Brazil demonstrates why they are among the leaders of Latin American independent cinema, along with Argentina. They are the masters of good independent cinema in Latin America. And here is an example of good cinema. Despite a simple, sweet, and tender plot, it never ceases to surprise, for better or worse. It depends on how you view it. Although you won't see a film as good, made with state funds, that's good at showing what it wanted to show. The thing is, Brazilians don't understand the complexities and exaggerated censorship that Americans do, who might see this as a sort of "cheap soap opera." But that's my LATAM, and it's a good thing it is.

The title of my review was taken from the song "No Sabes Cuánto Me Gustas" by Nenito Vargas.