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Both Barberini and Pujol have an earthy, naturalistic manner that's compelling, building curiosity about both characters while creating strong chemistry between them. While the second act takes place 20 years before the first, they aren't depicted as being any younger, which adds an eerie timelessness to their interaction. These are the same two men who once met back before the turn of the millennium and find that they still have the same magnetic mutual attraction. And the third act is even more intriguing.

Castro lets themes swirl around, from the nature of art to the idea of parenthood to concerns about HIV infection. There's also a discussion of a three-part painting that challenges with the magical rather than rational. These and other elements offer continual surprises, sparking thought and touching on ideas that subvert the usual logical approach of a movie narrative. So where this goes in the end is of course anything but straightforward, slipping into a sequence that brings together feelings, memories and possibilities. It's remarkably hopeful and deeply moving.

themes, language, sexuality

5.Jul.19

In a difficult role, Fruhwirth also delivers a potent debut, conveying Jakob's swirling thoughts without overplaying anything. In his eyes, the subtle fears, yearnings and frustrations are astonishingly visceral. And they're also easy to identify and sympathise with. Those opposite him are less detailed, of course, because everything is seen through his eyes. But each actor has a strong presence, most notably the enigmatic Forman, who remains intriguingly aloof, drawing in both Jakob and the audience.

This is not a film with a linear narrative; it's a swirling journey through the past and present, as this young man dives into his imagination and explores his fears. The imagery is deliberately provocative, from the blood dripping from pig carcasses at Jakob's work to the pounding music and invasive strobe lighting of an underground nightclub with its graffiti-covered toilets and cavernous darkroom. Even at home, Jakob's mind can't help but turn on itself. But Schmidinger channels this material with intent: this young man isn't wallowing in his mental turmoil, he's working a way through it. Which makes the film exhilarating.

themes, language, violence, sexuality

26.Mar.19 flare

The actors ground the roles by underplaying them, then throwing personality quirks that lead to hilarious sideroads and interconnections. At the centre, there's never a doubt about Matthias' journey from presumptive sports-star to thoughtful maturity, although it takes quite a while for him to even begin heading in that direction. Thankfully, Gob makes him engaging even when he's being a jerk. Lenoir has the other focal role as a man who decides to live fully rather than go out with a whimper.

The Shrimps are funny on their own, and their bouncy camaraderie is often hysterical, even as it astutely observes how gay men create families with each other. So it's frustrating that the script feels somewhat unfinished. Aside from Matthias, the characters never develop much depth. They're thoroughly entertaining, but we'd like to get to know them. So the sudden gear-shift before the final scenes leaves the audience watching a completely different film. At least it's still fabulous.

themes, language, violence

24.Jun.19