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.]