Tag Archives: gay romance

Brief encounters at the END OF THE CENTURY

Juan Barberini observes Ramon Pujol, the man who got away, in Lucio Castro’s drama End of the Century.

END OF THE CENTURY (FIN DE SIGLO). Country, Spain/Argentina. Director, Lucio Castro. Screenwriter, Lucio Castro. Cast: Juan Barberini, Ramon Pujol, Mia Maestro. Runtime: 84 minutes. Venue: IFC Center. Mostly Indies: A

Two men have a chance encounter that turns out to be pregnant with more history than they would have expected in Lucio Castro’s sparse yet deeply affecting debut film work assignment management thesis presentation ppt source url engineering homework help quand une femme prend du viagra research paper writing service uk watch professional mba reflective essay ideas https://nyusternldp.blogs.stern.nyu.edu/how-can-i-write-on-a-pdf-file-on-my-ipad/ uc personal statement help source link writing homework assignments click follow url underground nolvadex http://www.naymz.com/creative-writing-short-stories-on-discovery/ http://mce.csail.mit.edu/institute/creative-writing-eco/21/ write a metaphor click here 100mg viagra bug viagra nitrous cylinder argumentative essay paragraph structure https://tasteofredding.org/15550-other-kinds-of-viagra/ thesis statement of the problem sample https://eagfwc.org/men/viagra-tablets-100mg/100/ austrade international business plan competition https://vaccinateindiana.org/viagra-et-tylenol-14896/ how to write a high school application essay follow site good topics for cause and effect essay viagra cialis from germany End of the Century (Fin de siglo). At 84 minutes in length, his movie crosses time and space and presents two men at different junctures in life and concludes with one that can only be assessed as wishful thinking, memory, longing, and missed opportunity.

While traveling in Barcelona on business, Ocho (Juan Barberini) crosses paths with Javi (Ramon Pujol) and invites him to the apartment where he’s temporality staying to hang out for a bit. Some initial awkward conversation — the kind that always happens when strangers meet — happens, including a rather funny emergency run to fetch some condoms since Javi never has sex without them, but it’s clear where this will go. When we do get there, it is in one breathless, erotically charged shot filled with simple yet powerful beauty.

Once the aftermath arrives the men agree to keep in touch, and it’s here where, over wine, Javi reveals to Ocho that they have met before, Without a beat, Castro takes us to the past where both Javi and Ocho were involved with other people — both women. Ocho was, at the time, grappling with his own sexual identity when, during a vulnerable period in his life, he met Javi, who was in the process of making a film., Both men instantly hit it off, and have an intimate moment of passion before Ocho disappears. In the present, Javi is now married to a German man in Berlin and Ocho is coming out of a 20 year relationship. It’s clear that the men belong together; their energy together fills the screen, but circumstances, of course, have determined that this will not go past what it is.

Incredibly, seamlessly, Castro integrates this ellipsis with a transition into what could have been, and it’s almost too painful to watch two men who could have been happy together, reenact their lives of serene, passionless domesticity, resigned to live with their spouses in comfort, Without a drop of sentimentality, Castro has concocted the perfect date movie, and a study in loneliness interrupted if not magnified with a brief encounter pregnant with possibilities.

[Seen at a sneak preview on August 15, 2019 at the IFC Center.]


Italy / France / Brazil / USA
Director: Luca Guadagnino
Runtime: 132 minutes
Language: Italian / French / English / German
Mostlyindies.com grading: A+

There was a pregnant tension in the air inside the Alice Tully during the half-hour leading to the world premiere of Luca Guadagnino’s film version of Andre Aciman’s novel Call Me By Your Name — would it remain faithful to the novel, how would the performances be, and what about that famous scene with a fruit? Not having read the book or known what the plot was about other than the synopsis featured in the Film Society of Lincoln Center’s page and a little apprehensive after seeing Guadagnino’s awful 2015 film A Bigger Splash that made its rounds in US theaters last year, I figured I’d give it a try based solely on the trailer. When it comes to LGBT cinema, I’ll usually watch them all — the bad with the good — because hey, if one can’t support it, what’s the use in complaining there aren’t any stories being told? And considering that this year the New York Film Festival has not one but three in its Main Slate — the other two being the Norwegian Thelma and the French BPM as well as Todd Haynes new film Wonderstruck and a restored version of G W Pabst’s 1929 classic Pandora’s Box, there should be enough quality to glean a lot of positive chatter about the state of Queer Cinema yesterday and today.

Luca Guadagnino again returns to his native Italy to take us into a sensual trip through a lazy summer in 1983. Elio Perlman (Timothee Chalamet) lives with his parents, both intellectuals, in a secluded part of Italy and have a tradition (established by his father, a history professor (Michael Stuhlbarg in a role that anchors and elevates the film) of inviting a student over for mentoring. Elio doesn’t quite care for this since his privacy will be altered, and could you blame him? The look of disdain on his face as he and his girlfriend Marzia get their first glimpse of the impossibly beautiful Oliver (Armie Hammer) emerging from his parents vehicle says it all. Elio is frankly, not impressed one bit.

Not that Oliver makes it easy, either: a good ten years older than Elio there doesn’t seem to be much holding them together. Both are clearly sophisticated in their fields; Oliver in his knowledge of history and languages; Elio, in music. However, Oliver varies from being dismissive to vague, flighty interest, and any attempt at dialog ends with a sense of the both of them being completely incompatible. Conversations end in moments of awkwardness, and no one seems to know how to break the ice. A visual discovery that Oliver is also Jewish, while striking a spark, also fails to really make things work between them. All Elio can hope is that the six weeks that Oliver will be in Italy will go as quickly and painlessly as possible so life can return to normal.

It’s this tension between the two that carries the story to its conclusion; constantly framed together, it only seems logical that something has to give. A first attempt at physical contact during a volleyball game backfires. A night on the town, where both Elio and Oliver dance with women, also goes south. It’s precisely at the halfway mark when we realize not that Elio has been resenting Oliver’s presence, but that he’s attracted to him, and this being 1983, a crucial year for gay men as the Disco era had begun to feel its aftermaths and AIDS had made its way to the cover of Time magazine, such feelings were best kept in the quiet and resolved in the dark.

What makes Call Me By Your Name succeed is precisely this need for silencing: Elio obviously doesn’t need his parents to know yet, but Oliver suddenly becomes less a Greek God in the flesh and turns into a vulnerable young man who doesn’t wish to harm this boy who’s clearly growing up and has a world to learn. Perhaps, also, he has his own demons to wrestle with, and again, the timing of the story is crucial. Both begin a dance of wanting to be as close as possible to wanting to stay away from each other, a thing that leads Elio to experiment with Marzia and sadly, lead her on. In the meantime we’re left to wonder, how much do the parents know about what’s going on?

The only one who seems to hint at something is Mr Perlman (although a telling expression in Mrs Perlman answers the age-old question of “Does Mother know?”). There is a build up to a scene that happens in stages. Firstly, a gay couple appears, and Perlman wants Elio to at least try to behave with a certain tolerance not because they’re gay or ridiculous but because they’re “both.” It’s the film’s one self-hating moment, a subtle slap that strikes at the way gay men were still seen at the time — campy, effete, diva-worshiping, and overall, emasculated. This is followed by another scene in which Perlman goes on and on about the male form and how it was admired in Grecian times. It’s a very telling revelation. MIchael Stuhlbarg’s delivering of his lines reveal something completely startling about his until then very worldly, bourgeois professor. So disarming it is, that even Hammer’s Oliver gets taken aback and it hovers over the second half of the picture until Stuhlbarg, practically doing nothing other than sit with his son, has the most ideal,naked, and emotionally revealing conversation any father should have. Because of this, his is the character that stands out the most because of how it informs the viewer of where he comes from other than making him “the clueless father”. Anyone — me included — knows that parents always know, but to do what Perlman does during the film . . . priceless. An Oscar consideration for Best Supporting Actor could happen for him.

I dare anyone to view this movie and not reminisce about those days of experiencing first love and choke a little on tears. It is as nuanced and detailed a love story as a coming of age, beautifully rendered by everyone onscreen, meticulously acted to a point where one would be hard pressed not too see oneself in any of the two leads, or perhaps the father. Several 80s New Wave classics make their way into the film (notably The Psychedelic Furs’ Love My Way), but it’s Sufjyan Stevens ethereal music, reminiscent of the early 70s, that paints this film in smoldering passionate hues that will still evoke emotions well past the end credits. Guadagnino in my opinion has made the perfect gay romance.

Call Me By Your Name just had its screening at the 55th New York Film Festival and will make its US premiere November 24.