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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 enter site get link order a research paper online our values essay martin luther king thesis how to write in l33t how much viagra should you take how to do powerpoint presentation essays help online online business case studies https://bonusfamilies.com/lecture/free-resume-samples-2009/21/ writing editing service technical papers how to check my ip address in pc here nature essay samples https://childrenofthecaribbean.org/plan/custom-papers-writers-site-for-university/05/ sandbox thesis follow link http://mechajournal.com/alumni/college-admission-essays-help/12/ bibliography mla format domestic violence thesis statement sample common core essays thesis na pahayag in english Viagra gold overnitepharmacy https://lajudicialcollege.org/forall/sample-cover-letter-chemistry/16/ https://www.newburghministry.org/spring/help-with-psychology-blog-post/20/ https://eagfwc.org/men/viagra-for-sale-in-cyprus/100/ get link global inequality essay buy metoprolol without a prescription go to site 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.]

SWEET SWEET LONELY GIRL

SWEET SWEET LONELY GIRL
USA
Director: A. D. Calvo
Runtime: 76 minutes
Language: English

3.5 out of 5 stars (3.5 / 5)

What is it about fragile young women and old Victorian mansions with windows so menacing they almost look as though they have an evil intelligence that goes so well together in the makings of Gothic horror? I’ll only guess that it has to be the fact that someone less impressionable might not be as ripe for a gradual possession as someone more withdrawn and in-tune with their inner lives and what only they themselves can see, but what do I know? Ultimately, however, what haunts Adele (Erin Wilhelmi) is not the supernatural, but her own aching loneliness — she’s been sent to care for her aging aunt Dora (Sally Kellerman), a woman who’s become a complete and utter recluse, who’s left Adele a series of notes with instructions as to the management of the house and groceries written in handwriting so ornate as to seem from another time completely. Adele, none too happy with her situation, complies, not without a faint sense of “why me”.

And then she bumps into Beth (Quinn Shephard). The two girls could not be more dissimilar. While Adele is as waifish as they come, with long, golden hair parted severely in the middle and landing in exact geometric length halfway down her back, Beth is darker, more assertive, and worldly. The two take a liking to each other that seems almost too perfect to be true . . . fated, if you will. And  yet, the story moves along at its own pace, letting these two women breathe, share stories, experiences, and information that is vital to the bond that seems to be getting stronger between them. In the meantime, any attempt to reconnect with Aunt Dora goes unfulfilled–it seems as though something terrible has transpired in a time and a place before Adele was even born, yet has trickled down upon her head like an inherited crown of thorns.

But, back to the relationship between Beth and Adele. Because this is a horror movie — slow burn, creepy as all get out and with a palette completely drained of life, making even its bright 70s colors seem dusty and remote — it’s inevitable that whatever the two get into will not end well, and I really don’t want to give too much away because . . . well, you have to see it for yourself. If you get references as wide and varied as Robert Wise’s The Haunting of Hill House, Ingmar Bergman’s Persona, and made-for-television fare such as Burnt Offerings in which a house seems to turn its people into something darker, you will enjoy Sweet Sweet Lonely Girl. The three actresses are perfect in their roles — with both Shephard and Wilhelmi complementing each other to near perfection, and Kellerman making the most of her barely-there scenes. I won’t call it a masterpiece — it’s certainly not — but it’s a work that pays homage to a kind of horror that was more rising dread and what-the-fuck endings that were quite common for a time in the 60s and 70s and have since been making a slow but steady comeback with films like The Witch, The Duke of Burgundy, Darling, and The Eyes of My Mother.

Sweet Sweet Lonely Girl is currently playing at Shudder.