Disco rayado - John Chauca Laurente (Galería Yvonne Sanguineti)

Kaboom (2010)
Directed by Gregg Araki 

Gregg Araki's films share a special signature. As a filmmaker, his interest towards certain themes are aptly exploited in different and peculiar ways. In "Mysterious Skin" we witness the alien abduction fantasy embraced by one of the protagonists, in "Nowhere" an alien invasion serves both as a metaphor and as in incursion into the real. In Kaboom, Araki plays again with that which surpasses normal humanity, redefining it in the process.

We find ourselves immersed in a story about college, young men and women, mysterious murders, secret societies and conspiracy theories that, somehow, mingle together with a surreal sensitivity. The first scene takes us to Smith's mind, an 18-year-old student… or, more exactly, to a dream he has been having frequently. After that he starts masturbating while fantasizing with his roommate Thor, a blonde surfer with perfect abs. Smith, however, doesn't want to be labeled… he considers himself neither gay nor bisexual. He has indeed sexual encounters with boys and girls, but his best friend Stella is convinced that he leans more towards guys. Stella is a lesbian that finds conflict in a risky relationship with a girl that has, to put it mildly, supernatural abilities.

At the same time, Smith finds out that a girl from college, one that appears in his dreams, has been murdered by men in black disguised with animal masks. Except he cannot be sure if he's imagining things because of the hallucinogen drugs he takes or simply because he's becoming paranoid and losing his mind in the process. It's college and there are drugs and alcohol everywhere; here actually one of Araki's favorite actors, James Duval, interprets the typical school "stoner", who pretty much sums up Stella's assertion: "college is just an intermission between high school and the rest of your life. Four years of having sex, making stupid mistakes and experiencing stuff".

When Stella has sex with her girlfriend there is a special luminosity that announces a supernatural element… and when Smith agrees to engage in sexual intercourse with a lighthearted girl named London he also experiences a weird luminescence which he attributes to drugs. In the same way he cannot define himself as homosexual or bisexual, he is also constantly escaping out of normal consciousness, which is made clear with the dream at the beginning of the film. Psychoanalyst Jacques Lacan would correlate the privileged mode in which we capture our own selves through narcissistic investment with the type of knowledge based on the 'illusion of consciousness' in which it is implied that the entire reality could become accessible to the mind, turned inside-out, and as a result, it could be illuminated and made transparent. Kaboom deals closely with this illusion of consciousness; it explores the mindset of Smith taking him constantly to different extremes of realities.

my drawing: from pencils to inks /
mi dibujo: del lápiz a la tinta

This illusion, however, is insufficient if Smith is to find his place in the world, and he experiences its limitation when he confronts the phenomenon of the strange -with all its connotations, the stranger, the alien, the unfamiliar- here exemplified by the animal mask men that start chasing him; it doesn't matter if they are after him or if he's only imagining it, but the important thing is that he experiences fear (and thanks to the director's skills, we also experience the suspense of the persecutions); this seriously puts into question the very possibility of auto-transparency or auto-knowledge for Smith.

Perhaps this is all linked with Smith's lack of a parental figure, as Lacanian theory would tell us it is the nom de pere or name of the father that inscribes the subject into the symbolic order. Smith has a loving mother, but he has never met his father who was conveniently reported dead in a car accident just before he was born. Without the name of the father, without the castration which takes place when the father removes any possibility of the mother having the phallus, it's clear that the individual, in this case Smith, would always be out of place or at least displaced from society. In a world ruled by heterosexual normativity, Smith has no clear space or location, and in the same way sexuality means for him to wander around aimlessly, he also starts slipping into an uncomfortable fissure that brings forth elements of reality and also from his personal oneiric world.

I think no other director could have pulled this off. Kaboom succeeds in forcing us, the viewers, to reevaluate what we think, to defy established knowledge. When Smith finds out the truth behind the murders and the truth behind his father's death, he will no longer be able to see the world as he used to. But then again doesn't the same thing happen to us, as we grow up?
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John Chauca Laurente es un artista de reconocida trayectoria que ha logrado sorprender al público una y otra vez. Y esta es una difícil tarea, que muy pocos logran cumplir cabalmente. Porque además del buen arte hace falta también una buena propuesta artística, y finalmente hace falta romper un poco los moldes, ir más allá de la norma establecida, confiar en que el don de la originalidad elevará de categoría a la obra. Por suerte, John Chauca ha logrado todo esto, y la evidencia se encuentra sobre todo en sus muestras individuales en la Galería Yvonne Sanguineti (“Al fondo… ¿hay sitio?” y “Fantasías animadas de ayer y hoy”).

En esta ocasión, la sala barranquina presenta “Disco rayado”, un magnífico ejercicio creativo que se apoya por partes iguales en la ironía, en el homenaje a la cultura pop y en el redescubrimiento de los placeres analógicos que, en la actualidad, han sido reemplazados por la frialdad de lo digital. 

Los cuadros o bien presentan formas circulares o se aprovechan de la circunferencia para delimitar el tema visual central; y claro, también tenemos cuadros que son discos que se han convertido en los lienzos que utiliza el artista. Y como una codiciada colección discográfica, todas estas imágenes están ordenadas con sumo cuidado en los muros de la Galería Yvonne Sanguineti. Se trata de una colección que todos querrían tener, al menos a esa conclusión llegué mientras conversaba con mi gran amigo Andreé Ferro, quien me acompañó en esta ocasión; por supuesto, todos los que asistieron a la inauguración quedaron gratamente impresionados: Marcos Palacios, Paola Tejada, Hugo Salazar, Roberto Cores, Akira Chinen, etc.

Es curioso pero a veces me paso una o dos semanas enteras sin comentar ninguna de las muestras a las que he asistido. Y no es por pereza. Simplemente, lo que veo a menudo en diversas galerías limeñas me parece insustancial y de escaso o nulo valor. Esta semana, en cambio, he quedado fascinado con dos exposiciones de primer nivel: la de Hugo Salazar y la de John Chauca. 

Siempre es refrescante observar cómo John aborda el tema de la pintura, y cómo de algún modo establece un juego dialógico con el espectador, en una suerte de transfusión visual que nos sorprende y a la vez nos deja ensimismados. Ahí está el Capitán América (más cercano a la actual versión de la línea Ultimate que al héroe de la década del 30) despojado de su escudo verdadero y portando, en su lugar, una orgullosa escarapela. O a Marilyn Monroe (quizás uno de los más preciados fetiches de John) enterrada entre dos carnosos labios que prometen un apasionado beso.

Basta leer el texto de John Chauca para comprender su nostalgia por los discos de vinilo, y así hayamos vivido en el auge de la época de los tocadiscos o hayamos nacido en la era del mp3, hay algo en la propuesta de John que resuena en nuestro interior. Porque la música, como los latidos del corazón, no puede parar y porque la pasión por el arte debe seguir y seguir… y seguir… como un disco rayado.

Arcadio Bolaños

Carlos Bardales - La morada del Rayo y el Amaru (Galería Enlace)

The Living End (1992)
Directed by Gregg Araki

Gregg Araki is a brilliant director that finds in subversive and polemic subjects a complexity and richness that would pass unnoticed for other filmmakers.

"The Living End" is a story that deals with death. However, unlike most movies Araki has found a balance between Freudian Eros and Thanatos. The life drive and the death drive are equally as important for Jon and Luke, the protagonists. They alternately assume different roles regarding impeding death. For Jon, at first, is denial when he confronts the fact that he has AIDS. He trusts in his doctor's words when is told that this diagnosis does not equal a death sentence. Not just yet anyway. Luke, on the other hand, has a clear self-destructive tendency; he seems to be wandering off amidst repellent streets and dangerous highways, with no goals and no real desire.

They meet. They have sex. But here sex is devoid of the Freudian libido. Sex at first may be a consequence of the life drive but ultimately it's but an act of despair, it's the result of an undeniable lack of hope. And what is hope in the end? Is it an abstract concept or rather the force that prevent us from languishing in a situation in which our success is never guaranteed? I'd venture to say that hope comes down to one element: creation. And it's clear for the viewers that Jon and Luke will never be able to create a life together, their existence has already been forfeit.

"Afterlife is just this pathetic notion people cling to in order to avoid confronting their own mortality" explains Jon to Luke. And according to Slavoj Zizek he is absolutely right. In "The Seven Veils of Fantasy" Zizek explains that fantasy gives structure to reality. Fantasy is what allows people to confide in the symbolic order, fantasy is also more powerful than people might expect. Fantasy is the imaginary support upon which we build everything: we don't see human bodies we only see bodies through a certain fantasy; in fact, certain neurosis consist in seeing the body as it is (a disgusting cumulus of fluids, excrement, viscera and blood), and as a result there is a complete rejection of the other, or the constantly paranoid fear that contact with others will bring forth contamination or filthiness. Fantasy also structures desire ("what am I in the eyes of the other?"). Is Luke this rude, gay-macho version of Clint Eastwood or is this irresponsible, childish guy that makes Jon laugh with his nonsense? Is Jon this well-behaved gay, a productive member of society, or is he an absolute desperate person (willing to embark upon a nearly suicidal road trip with his newly found lover) that seeks out an indefinable truth that will give meaning to his remaining days? Fantasy also allows people to understand abstract concepts. What is a nation, for example? Benedict Anderson defines nations as "imagined communities", id est, arbitrary creations upon which people agree on.

Hugo Salazar

Nevertheless, the most important conception of fantasy here is that which veils and hides the real. Fantasy secludes oneself from the awful truth. Fantasy nurtures mythological and theological narratives that deal with something that has frightened people since the dawn of time: death. Sometimes, fantasies that veil the horror of death are as clumsy as the nice and tidy instructions and warnings one receives in every flight concerning the possibility of an "accident" (one has but to wonder what use a fastened security belt has when most airplane crushes end up turning people into a pulp, scattered tissue, that prevents even dental records to be obtained from the wreckage), but also as influencing and historically relevant as the heaven versus hell narrative that church still proclaims to this day.

What is "The Living End"? It is a glance of what happens once we withdraw from fantasy. Araki's film shows us what happens when death is no longer an abstract concern but a certainty. It demonstrates that a once life-driven Jon can lose all hope thanks to a medical diagnosis and thus embrace a death drive; it demonstrates that for all his bravado, Luke might not be the overtly self-destructive, death-seeking guy we saw in the first scenes. Life drive turns into death drive and vice versa (the extraordinary last scene condenses a powerful eroticism in contrast with an incontestable death wish). But one thing is clear: The veil has been removed and death no longer hides from mortal eyes. It's there, looking Jon and Luke right in the face. And they are looking back with a very fearless and subversive expression. 

http://www.imdb.com/title/tt0104745/reviews
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Carlos Bardales

El miércoles en la noche se inauguró la muestra “La morada del Rayo y el Amaru” de Carlos Bardales en la Galería Enlace. Hacía meses que no me asomaba a esta galería ubicada en Pardo y Aliaga; el año pasado creo que iba una vez al mes y este año simplemente dejé de ir. Fue un descuido de mi parte, sin duda, porque había olvidado lo animadas que podían ser las noches sanisidrinas (¿quién dijo que las barranquinas eran las únicas buenas?). 

Con influencias de la escuela cusqueña y el arte colonial, pero sobre todo con una interesante asimilación de corrientes contemporáneas, el arte de Bardales fluye ante nuestros ojos con un atractivo único y sugerente. Al trabajar con pan de oro o láminas de plata, estos cuadros de gran formato son como inmensas joyas que transmiten un mensaje estético a medio camino entre el clasicismo y el postmodernismo. Ciertamente, quedé encantado con la muestra.

En el transcurso de la noche me encontré con varios amigos como Miguel Samamé, José Medina y Carmen Alegre; conversé un rato con Paolo Vigo y me disculpé por no haber ido a su muestra reciente en Sala 58. También hablé brevemente con el gran Roberto Cores, con Julio Garay y con Hugo Salazar (extraordinario artista que expuso en Enlace hace un año; como curiosidad estoy incluyendo una de sus pinturas en este post), me dio mucho gusto verlo (no habíamos coincidido en ninguna muestra desde hacía meses).

my drawing / mi dibujo

Finalmente, me quedé comentando la nueva temporada de The Walking Dead con mi amigo, el artista Renzo Núñez Melgar Vega, y él me relató los últimos éxitos de la Galería Enlace. Al ser artista de la galería, ‘Reve’ se enteró que hacía poco habían vendido un cuadro de Carlos Cruz Diez a 495,000 dólares. Pensar que un ciudadano limeño (quien por cierto también le había comprado antes un cuadro a mi amigo, aunque por una mínima fracción de la suma mencionada) ha podido gastar esa suma exorbitante en un solo cuadro me dio un poco de dolor de cabeza. El mercado del arte en Lima sin duda está ahora más movido de lo que estaba hace dos décadas, pero aún así, teniendo en cuenta que las obras de Szyszlo, el principal pintor peruano, fluctúan entre 80,000 y 96,000 dólares (y estoy usando como referencia los precios de la misma galería Enlace que tiene un pequeño stock de cuadros de Szyszlo) sigo sin entender cómo alguien como Cruz Diez se ha cotizado tanto (según me enteré, también vendió otros tres o cuatro cuadros ligeramente más caros que los Szyszlo a los que hago referencia). ¿Qué haría la mayoría de la gente con medio millón de dólares? Supongo que comprarse una buena casa, y luego un buen carro, y con lo que les sobre pagar la universidad de sus hijos y punto. En pocas palabras, toda una vida de gastos. Yo, por lo pronto, después de comprarme la casa obviaría el carro y todo lo demás y me dedicaría a adquirir cómics hasta el fin de mis días. ¿Y ustedes?

Films (June) / Películas (junio)

So this month I saw 14 films and 19 short films. I’ll start commenting about one of my favorite directors, Gregg Araki, and his Teenage Apocalypse Trilogy formed by Totally F***ed Up (1993), The Doom Generation (1995) and Nowhere (1997). In The Doom Generation actor James Duval conveys all the confusion and insecurities of adolescence, a similar role to the one he plays in Nowhere, in both films, sexual confusion and identity issues are of paramount importance. For a more in depth analysis please check my reviews on IMDB (and vote for them):  http://www.imdb.com/title/tt0119809/usercomments?start=20
http://www.imdb.com/title/tt0112887/usercomments?start=70
Araki also directed one of my personal favorites: Mysterious Skin (2004), in which the repercussions of sexual abuse will affect the lives of two boys, but in so many different ways that one could almost wonder if they shared the same experience. http://www.imdb.com/title/tt0370986/usercomments?start=90

X-Men: First Class (2011) was a great surprise. At first I wasn’t really interested in it until I found out Nicholas Hoult was playing Beast. This young actor has always participated in interesting projects and X-Men was, indeed, a very solid and entertaining movie that creates a new continuity and background history for mutantkind (as a curiosity I would like to comment that Brendan Fehr, who played a male prostitute in “Sugar”, appears a few seconds as a navy officer). Bertolluci’s Ultimo tango a Parigi (1972), on the other hand, is a disgruntled and grim view on relationships, on sexual activities taken to the extreme and, ultimately, of failure; dramatic and strong, it shows what two people can do to each other.

The men who stare at goats (2009) a hilarious film about a secret division of the US Army trained to be “Jedi warriors”, using a pacifist approach and psychic abilities that no one believes in. Dear Pillow (2004): when a confused teenager starts hanging out with a veteran pornographer things change, not only every conversation they have revolves around sex but also the man seems very interested in the young boy. If you want to read my review and vote for it here’s the link http://www.imdb.com/title/tt0389908/usercomments

Lifeboat (1944) is a classic Alfred Hitchcock film that masterfully takes advantage of the settings: a group of survivors in a lifeboat struggle with the sea and against each other. A Single Man (2009): actor Colin Firth creates a most enthralling character, imbued by the sheer emotion of loss and yet adjusted to the repressed feelings he considers necessary to suppress even in his last day on Earth. After losing his partner and lover, there is no deterrence in his decision: he will kill himself at the end of the day. Unless one of his students, played by Nicholas Hoult, tries to stop him from committing suicide. But will they find love in the end or something else? If you want to read my review and vote for it here’s the link: http://www.imdb.com/title/tt1315981/usercomments?start=50

Biutiful (2010) is a merciless portrayal of poverty and human misery in Spain.30 Days of Night: Dark Days (2010) was a very disappointing sequel of one of my favorite vampire movies. Spun (2002) chronicles the lives of drug addicts and drug dealers in a story fueled by black humor and exaggerated situations. Clash of the Titans (2010) was a bit of a let down, perhaps the only good thing about it is Nicholas Hoult’s presence. And finally, La confusion des genres (2000) is an interesting story about sexual confusion, bisexuality and homosexuality, firmly inserted in the French culture.

And now let’s move onto the short films. Brookton Hollow (2010) is narrated as a fairy tale, and has much of the magic and innocence of children’s stories, although here the protagonist is a gay teenager. Recruiting (2005) presents a very original concept that should be developed into a full length movie. Dear Friend (2011) is a neatly weaved story of teenage sexuality and acceptance.  Verona (2010) tells the story of Romeo and Juliet, except that Juliet is a male character. Bacchanal (2006) delves into the practices of the Dionysian cults.

Drowning (2009): a tender story about friendship and coming-out dynamics. Franswa Sharl: a lighthearted comedy in which a young boy enjoys dressing up as a girl. Tanjong Rhu gives us a glimpse on how homosexuality is punished in Asian countries. Teddy (2009): a bittersweet tale of lost love and longing. Love 100°C shares the intimate moments of a deaf kid and an adult man.  My Last Ten Hours with You (2007) manages to intensify the last moments that two lovers share. Ajumma! Are you krazy? a funny comedy on older women. A la ricercca di Tadzio is a documentary that follows Luchino Visconti through Europe as he searches for the actor that will play Tadzio in Morte a Venezia.

Other interesting works were Freunde that emphasizes in the confusing relationship between two German boys. Bébé Requin directed by Pascal-Alex Vincent, a lucid and personal interpretation of adolescence; in three short stories the French director explores sexual urges, loneliness and sexuality. To take a look at some of the scenes you can check my YouTube channel here: http://www.youtube.com/watch?v=AyMkiX3D-74
http://www.youtube.com/watch?v=GOI56AzTWE0&feature=related

Other French productions of interest were Miroirs d’ete that emphasizes the existential doubts in a teenager and his questions about sexual orientation. Basquet et Maths deals with the possibility of romance between two high school students. Les incroyables aventures de Fusion Man is a very funny take on gay superheroes. Omar is a story about exclusion and urban outcasts.

Finally, I would also recommend Everybody is having sex… but Ryan; Different; Billy’s dad is a fudge packer (simply hilarious); The Mountain King; Ron the Zookeeper; Crush; …Lost; The Confession; Same Sex America; Transient; Saint and Tá.

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Bueno, este mes me encargué de ver 14 películas y 19 cortometrajes. Empezaré comentando el trabajo de uno de mis directores favoritos, Gregg Araki, y su Trilogía del Apocalipsis Adolescente compuesta por Totally F***ed Up (1993), The Doom Generation (1995) and Nowhere (1997). En The Doom Generation, el actor James Duval transmite al espectador todas las confusiones e inseguridades de la adolescencia, en Nowhere el mismo actor asume un rol similar; de hecho, en ambos films la confusión sexual y los problemas de identidad son de vital importancia. Para un comentario más detallado pueden revisar mis reseñas en IMDB (y votar por ellas): http://www.imdb.com/title/tt0119809/usercomments?start=20
http://www.imdb.com/title/tt0112887/usercomments?start=70
Araki también dirigió Mysterious Skin (2004), una de mis preferidas. Aquí, las repercusiones del abuso sexual en dos chicos afectarán sus vidas para siempre, pero cada uno de ellos enfrenta el trauma de manera tan distinta que pareciera que no hubiesen pasado por la misma experiencia. http://www.imdb.com/title/tt0370986/usercomments?start=90

X-Men: First Class (2011) fue una grata sorpresa. Al inicio no tenía mucho interés en verla, pero al averiguar que Nicholas Hoult interpretaría a Beast empecé a estar interesado. Este joven actor ha participado siempre en proyectos interesantes y, en efecto, X-Men resultó ser una película sólida y entretenida que crea una nueva continuidad en la saga de los mutantes (como curiosidad, me llamó la atención ver a Brendan Fehr, que interpreta a un prostituto en Sugar, tan sólo un par de segundos en pantalla). Ultimo tango a Parigi (1972) de Bertolluci, por otro lado, es una desencantada y cruel visión sobre las relaciones, las actividades sexuales llevadas al extremo y, por último, el fracaso; fuerte y dramática, nos muestra lo que dos personas pueden hacerse entre sí.

The men who stare at goats (2009): divertidísima película sobre una división secreta del ejército norteamericano donde los soldados entrenan para ser “guerreros Jedi”, usando enfoques pacifistas y poderes psíquicos en los que nadie cree. Dear Pillow (2004): cuando un confundido adolescente empieza a pasar su tiempo con un pornógrafo veterano las cosas cambian. No sólo hablan de sexo por horas, sino también el hombre empieza a mostrarse muy interesado en el muchacho. Si quieren leer mi reseña y votar por ella ahí va el link: http://www.imdb.com/title/tt0389908/usercomments

Lifeboat (1944) es un film clásico de Alfred Hitchcock en el que los escenarios son aprovechados al máximo: un grupo de sobrevivientes en un bote salvavidas luchan contra el mar y contra ellos mismos. A Single Man (2009): el actor Colin Firth crea un personaje fascinante, imbuido de la emoción cruda de la pérdida y, aún así, ajustado a los sentimientos que él considera que debe reprimir a pesar de tratarse de su último día con vida. Decidido a suicidarse tras perder al compañero de toda su vida, tan sólo su alumno, interpretado por Nicholas Hoult, parece estar interesado en salvarle la vida. ¿O es ya demasiado tarde para reencontrar el amor en este joven? Si quieren leer mi reseña y votar por ella ahí va el link: http://www.imdb.com/title/tt1315981/usercomments?start=50

Biutiful (2010) es un despiadado retrato de la pobreza y la miseria humana en España. 30 Days of Night: Dark Days (2010): pésima continuación de una de mis películas favoritas de vampiros. Spun (2002) registra la vida de drogadictos y vendedores de drogas en un relato impulsado por el humor negro y situaciones exageradas. Clash of the Titans (2010), es un tanto decepcionante, quizá lo único bueno de la película es la actuación de Nicholas Hoult. Y finalmente, La confusion des genres (2000) es una curiosa historia sobre confusión sexual, bisexualidad y homosexualidad, al amparo de las costumbres francesas.

Y ahora llegó el turno de los cortometrajes. Brookton Hollow (2010) es narrado como en un cuento de hades, y encierra mucho de la magia e inocencia de las historias infantiles, excepto que el protagonista es un adolescente gay. Recruiting (2005) presenta un concepto muy original que merece convertirse en película. Dear Friend (2011), honesta y bien desarrollada, se centra en la sexualidad juvenil y en la aceptación. Verona (2010) cuenta la historia de Romeo y Julieta, excepto que aquí Julieta es un personaje masculino. Bacchanal (2006) investiga las prácticas de los cultos dionisíacos.

Drowning (2009) es una tierna historia sobre la amistad y la revelación. Franswa Sharl, una comedia ligera sobre un chico que se divierta vistiéndose como chica. Tanjong Rhu nos da un vistazo a la forma en que la homosexualidad es castigada en ciertos países asiáticos. Teddy (2009) es un agridulce relato sobre el amor perdido y la añoranza. Love 100°C comparte los momentos íntimos de un chico sordo y un hombre adulto. My Last Ten Hours with You (2007) se las arregla para intensificar los últimos mementos que comparte una pareja. Ajumma! Are you krazy? simpática comedia sobre mujeres mayores. A la ricercca di Tadzio es el documental que sigue a Luchino Visconti a través de Europa cuando buscaba a un actor que interpretase a Tadzio en Morte a Venezia.

Otros cortometrajes interesantes fueron Freunde que enfatiza el aspecto confuso en la relación entre dos chicos alemanes. Bébé Requin dirigida por Pascal-Alex Vincent, es una lúcida y personal interpretación de la adolescencia; en tres historias breves el director francés explora la urgencia del sexo, la soledad y la sexualidad. Para darle un vistazo a algunas de las escenas pueden visitar mi cuenta en YouTube: http://www.youtube.com/watch?v=AyMkiX3D-74
http://www.youtube.com/watch?v=GOI56AzTWE0&feature=related

Otras producciones francesas de interés fueron Miroirs d’ete que hace énfasis en las dudas existenciales de un adolescente y sus cuestionamientos sobre orientación sexual. Basquet et Maths sugiere la posibilidad de un romance entre dos estudiantes de secundaria. Les incroyables aventures de Fusion Man: un muy divertido enfoque sobre superheroes gay. Omar nos habla sobre exclusion y marginalidad urbana.

Finalmente, también recomendaría Everybody is having sex… but Ryan; Different; Billy’s dad is a fudge packer (simplemente hilarante); The Mountain King; Ron the Zookeeper; Crush; …Lost; The Confession; Same Sex America; Transient; Saint y Tá.

Mysterious Skin (2004)

Directed by Gregg Araki

It all starts and ends with a little league’s pedophile coach and two kids: Neil and Brian, who unbeknownst to their parents are the victims of a sexual predator. But what is the authentic aftermath of this encounter between the man and the 8-year-old children?The repercussions of sexual abuse will affect greatly the lives of Neil and Brian, but in so many different ways that one could almost wonder if they shared the same experience. As a matter of fact, being sexually abused is such a traumatic event for Brian that he blocks it out of his mind unable to cope with the real, and he then proceeds to fill in the memory gaps with a fantasy of alien abduction. Recurring to such self-defense mechanisms is quite a normal psychological strategy, but it also mingles well with a recurring theme in Araki’s cinematography.

Neil, on the other hand, fills in the gashing void with an idealized image of the pedophile. After all, during an entire summer the two of them spend many nights together. Neil actually functions as an accomplice, helping the coach to lure in unsuspecting boys, thus creating a perverse bond between them. Perhaps one of the greatest accomplishes of the novel is to invert the roles, creating a pedophile that seems to be nicer and more caring than the boys’ parents, while at the same time embedding at least one of the victims with an attitude that one would find difficult to sympathize with. Araki’s film, of course, thrives because of that: the complexity between the characters relationships. This is not, after all, a lesson of morality. Here the coach leaves the town, with an untarnished reputation, and leaves behind Neil, a very obsessed boy who admits later that “it's a huge part of me. No one ever made me feel that way before or since [...] I was his one true love”.

Perversion seems to be the one predominant constant throughout Neil’s life, but as Lacan would define it, a perverse individual is the one who assumes the position of the object-instrument of the "will-to-enjoy" (volonté-de-jouissance), which is not his own will but that of the big Other. In this case, Neil accepts to serve as a garish tool of pleasure for the coach, and years later, as a teenage hustler, he has no quandaries when it is his turn to be the instrument of joy of the other (namely his clients). Emotionally detached from everyone, only a girl, a friend from childhood, remains as his one and true humane anchor. His mother, after all, has always been a carefree woman, constantly hooking up with men, and paying no attention to his son; that’s why when Neil is about to depart to New York, she looks at him and utters “my baby, all grown up”, not as a typical motherly affirmation but rather a discovery: time flew by, and she wasn’t there at all.

Brian’s dreams are a reminder that another boy was with him the night of the alien abduction, consequently the insecure boy starts the search for Neil, and learns of his whereabouts just after Neil has left for the big city. It is then that Neil’s friend, Eric, a very flamboyant gay kid, befriends him. Brian is quite a timid and introversive teenager, perhaps as a result of having a very dominant mother and an absent father (even before he abandons the family, he was only there to state how disappointed he was at his son). Eric describes him as "weirdly asexual" (even without knowing how Brian had violently rejected a UFO obsessed woman that intended to caress his penis); indeed, Brian is unable to reclaim sexuality for himself, and after having always lived in a world of his own he finds in Eric’s friendship everything he needs to break out of his shelf.

As a male prostitute, Neil finds the horror of the real in New York, and he will soon realize how dangerous his line of business can get. Back in town, Eric is preparing himself to let go of the one reality that has sustained and nurtured his psyche, but can he embrace the real if Neil tells him exactly what happened that fatidic night?  

Araki brilliantly depicts this honest, heart-wrenching and unruly story, taking advantage of the exceptional acting qualities of Joseph Gordon-Levitt (Neil), a daring and talented actor that has worked in many interesting independent films, such as Brick, The Lookout or Latter Days (a gay themed movie). This actor finds in Brady Corbet (Brian) the ideal partner; Corbet creates a subtle but fascinating character, completely different from his roles in Funny Games US or Thirteen, proving not only that he is a great actor but that he also knows how to choose the best directors to work with.

And that's why Mysterious Skin makes it into my top 100 films. I highly recommend it.

And by the way, I'm glad to see that every month my blog gets more visits. Cheers!
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Fiel a los principios de Coherencia, mi rechazo por la candidata a la presidencia prevaleció. Ni siquiera haber perdido casi dos mil dólares en la bolsa de valores de Lima logró disuadirme. Aunque, por supuesto, como decía Fernando De Szyszlo en relación al otro candidato, a ese tampoco le creo. 

Así que decidí hacer lo único sensato, o sea contribuir con las arcas fiscales. Con la multa evito la votación, y me ahorro esa sensación horrible de tener que elegir a un mal menor (y honestamente, nunca he tenido la línea Sartriana de Mario Vargas Llosa que le permite hacer justamente eso, elegir una de las dos opciones, a pesar de todo).

Las pérdidas también me han hecho ver que algunos ajustes son necesarios, al menos por ahora. Así, por ejemplo, he cancelado mis tarjetas de crédito, todas menos una. Así que adiós a tarjetas con límites de 5000 soles (como la del BBVA que siempre me sacó de apuros) y cosas por el estilo. Para bien o para mal, este domingo ha sido elegido el próximo mandatario del país.

Films (April) / Películas (abril)

I was slightly busier in April and as a result I didn’t have enough time to watch one film a day, but thanks to short-films I did manage to come up with a good final list. The last film I went to see is Thor (2011), based on the popular Marvel Comics character: the rivalry between Thor and Loki, the conflicts against the All-Father Odin and the conception of Asgard were more than enough to make me remember why I’ve always been such a big Odinson fan. Another interesting movie was Alejandro Amenábar’s Agora (2009), religious zealots against scientific minds has always been a fascinating subject.



I wanted to see The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944) mainly because of Lawrence Olivier role as the king, and also because I’ve always enjoyed Shakespeare’s play, this movie works with several theater elements and is faithful to the original playwright’s work. The Boys from Brazil (1978) brings forth a Nazi conspiracy and a plan to clone Hitler’s body and recreate the social surroundings of the Fuhrer; a most appealing thriller.


Story of a Bad Boy (1999) focus on the life of a young altar boy, his ambiguous relationships with other boys, and how in the end he comes to terms with his true sexuality. Gregg Araki’s Kaboom (2010) redefines bisexuality in a chronicle about college, young men and women, mysterious murders, secret societies and conspiracy theories that, somehow, mingle together with a surreal sensitivity. For a more in depth analysis of the film please check the following IMDB link http://www.imdb.com/title/tt1523483/usercomments and, as usual, if you feel like it, vote for it. The Mostly Unfabulous Social Life of Ethan Green (2005) was a very pleasant surprise, it’s funny, lighthearted and yet tremendously enthralling; a young man witnesses how his ex-boyfriend is about to get married with an older man, and as a result he reflects on his difficulties in maintaining a steady relationship with other guys (the jock, the twink, etc.).


Like it is (1998) narrates the life of a young wrestler that falls in love with a man obsessed with his work, here the ugly reality of British poverty drives the protagonist around. Spin the bottle (2000) reunites old friends, as they start remembering their youthful days, the homosexual tendencies of two of them become apparent. Garden Party (2008) involves the lives of several characters fighting to survive in the big city; the role of Erik Smith as a bisexual teen is especially noticeable (like his part in A Home at the End of the World). In Juste une question d’amour (2000) a demotivated college student finds himself attracted to a prestigious biologist, but what could happen if his conservative parents find out that instead of a girlfriend he now has a boyfriend? Super 8½ (1994) is a brilliant parody of the biographical genre, as Bruce La Bruce mocks himself as a filmmaker, emphasizing his passion for directing and starring in gay porn productions.


Carancho (2010), an Argentinian production, explores the insurance frauds that take place after car accidents. Alex de la Iglesia’s La habitación del niño (2006) is an apt reinterpretation of horror themes, here the haunted house is actually an expression of Schrodinger’s paradox. I found it more interesting than Drag me to hell (2009), a horror movie that relies too much on special effects to deliver suspense, it has however very good moments. Finally, my favorite horror-related film of the month is Cuento de navidad (2005), an extraordinary story that delves into the victim – victimary dynamics; here, a group of 11 year-old children find a woman trapped in the woods; as they find out she is being chased by the law, they start torturing to make her “confess”, childly at first and more fiercely at the end; the most fascinating aspect, however, is that these kids act so innocent and nicely that you start rooting for them, easily forgetting about the tortured victim. Destricted is an anthology that includes short films such as Balkan Erotic Epic, Death Valley, House Call, Hoist, We fuck alone and, of course, Larry Clark’s Impaled, a very unique take on pornography and male sexual fantasies. I also saw short films from other anthologies such as The Island, Working it out, Futures (and derivatives). One of my favorites, however, is Lucky Blue, a Swedish production about two boys that start fooling around in a summer camp, until sexual tension between them is made obvious; of course, the fact that their parents are now dating complicates things.


Kali Ma is a hilarious take on an Indian mother that defends her son against the school bully, but what is the true nature of the boys relationship? (one of the actors, Brendan Bradley, is the protagonist of the short film Latch Key. For a full review on it please check this link: http://www.imdb.com/title/tt0464083/ you will have no problem finding my review, since it’s only one there and also please click on “See all my reviews” and vote for the ones you enjoy the most). Protect me from what I want (2009) illustrates the heartbreaking reality of a Pakistani boy that is constantly struggling against his innermost desires, until he no longer can avoid the one British boy he seems so keen on. Steam (2009) is almost a metaphysical interpretation of Muslim cultures, terrorism and homosexuality, all neatly tied up in a steaming room.


Love Bite is a British production that very briefly shows us what at first seems to be the physical attraction a schoolboy feels for another student, until we find out he’s not precisely after the other kid’s body. Weekend a la campagne explores the friendship of two French boys, as they decide to spend the weekend on a summer house; however, one of them is not satisfied with just friendship, and after crossing the boundaries a serious conflict arises. Bramadero is a mute production of two Mexican guys that engage in sexual intercourse in a most unexpected place. Finally, Zucht (2008) is a very tender story of a 13 year-old boy that goes to the beach with a girl his age and her father; all the girl wants is to be kissed in the cheek by the boy, and all the boy wants is to do the same to her father; childhood innocence, age difference and clumsiness come together in a most riveting short-film about the idealization of first love.
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En abril estuve ligeramente más ocupado y, por tanto, no tuve tiempo para ver una película al día, aunque gracias a los cortometrajes al final mi lista del mes es respetable. La última película que vi ha sido Thor, basada en el popular personaje de Marvel Comics: la rivalidad entre Thor y Loki, los conflictos con Odín, el Padre de Todo y la concepción de Asgard fueron elementos que disfruté considerablemente. Otra película interesante sería Agora (2009) de Alejandro Amenábar, considero que el fanatismo religioso versus la mentalidad científica es siempre un tema fascinante.


Siempre quise ver la versión de Lawrence Olivier de The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944) no solamente por las actuaciones de Olivier sino también por el interés que tengo en las obras de Shakespeare. The Boys from Brazil (1978) indaga en una conspiración nazi y en un plan que pretende clonar a Hitler y recrear las condiciones sociales que dieron origen al Fuhrer.


Story of a Bad Boy (1999) se enfoca en la vida de un joven monaguillo, en sus relaciones ambiguas con otros chicos y en la aceptación de su propia sexualidad. Kaboom (2010) de Gregg Araki redefine la bisexualidad en una crónica sobre la universidad, la juventud, asesinatos misteriosos, sociedades secretas y teorías de la conspiración, todo bajo una óptica surrealista. Para un análisis más extenso pueden consultar el siguiente link de IMDB http://www.imdb.com/title/tt1523483/usercomments y, como siempre, pueden votar por mi reseña. The Mostly Unfabulous Social Life of Ethan Green (2005) fue una auténtica sorpresa: divertida, ligera y aun así tremendamente absorbente; un joven reflexiona sobre su dificultad al establecer relaciones sólidas cuando se entera que su ex enamorado está a punto de casarse. Like it is (1998) narra la vida de un joven boxeador que se enamora de un hombre obsesionado con su trabajo; aquí la pobreza urbana inglesa será determinante para el protagonista. Spin the bottle (2000) reúne a viejos amigos que al empezar a recordar su pasado juvenil descubrirán las tendencias homosexuales de dos de ellos. Garden Party (2008) se centra en las vidas de varios jóvenes que luchan por ganar un espacio en la ciudad, el rol de Erik Smith como un adolescente bisexual es especialmente notorio (tal como lo fue su papel en "A Home at the End of the World"). En Juste une question d’amour (2000) un desmotivado alumno universitario se encuentra atraído por un prestigioso biólogo, pero ¿qué sucedería si sus conservadores padres descubren su verdadera preferencia? Super 8½ (1994) es una brillante parodia del género biográfico, Bruce La Bruce se burla de sí mismo como cineasta, haciendo énfasis en su pasión por protagonizar y dirigir producciones de pornografía gay.


Carancho (2010), es una producción argentina que explora los fraudes a los seguros en el rubro de accidentes automovilísticos. La habitación del niño (2006) de Álex de la Iglesia trabaja con ciertos tópicos de terror bajo una nueva luz; así, la tradicional casa embrujada se convierte en una expresión de la paradoja de Schrodinger. Me pareció bastante más interesante que Drag me to hell (2009), una película que confía excesivamente en los efectos visuales para generar suspenso, aunque dentro de todo tiene buenos momentos. Finalmente, mi película de terror favorita de abril sería Cuento de navidad (2005), que juega con la dinámica de víctima - victimarios; aquí, un grupo de chavales de 11 años encuentran a una mujer atrapada en el bosque, cuando descubren que se trata de una prófuga no dudan en obligarla a "confesar"; empiezan a atacarla infantilmente hasta terminar torturándola; lo más fascinante es que estos chicos actúan con tal inocencia y desparpajo que como espectador uno se identifica con ellos, con esos pequeños torturadores y no con la víctima.


Destricted es una antología que incluye cortometrajes como Balkan Erotic Epic, Death Valley, House Call, Hoist, We fuck alone y, desde luego, Impaled de Larry Clark, una forma de entender la pornografía y las fantasías sexuales masculinas. También revisé otras antologías y otros cortometrajes como The Island, Working it out, Futures (and derivatives). Sin embargo, uno de mis favoritos fue Lucky Blue, una producción sueca sobre dos adolescentes que empiezan a juguetear en un campamento de verano, hasta que la tensión sexual entre ellos es evidente; por supuesto, el hecho que sus padres sean ahora una pareja complica las cosas.


Kali Ma es una hilarante comedia sobre una madre de la India que defiende a su hijo del abusivo de la escuela, pero ¿cuál es la verdadera naturaleza de la relación entre estos dos muchachos? (uno de los actores, Brendan Bradley, es el protagonista del cortometraje "Latch Key", pueden leer un comentario más completo en http://www.imdb.com/title/tt0464083/ no tendrán problemas en encontrar mi reseña porque es la única; también los invito a hacer click en la opción “See all my reviews” para que puedan votar por mí). Protect me from what I want (2009) ilustra la estremecedora realidad de un estudiante pakistaní en constante lucha con sus deseos más íntimos, hasta que es incapaz de seguir evitando a un chico británico a quien no puede dejar de mirar. Steam (2009) es una interpretación casi metafísica de las culturas musulmanes, el terrorismo y la homosexualidad, todo ello desarrollado en un sauna.


Love Bite es una producción británica sumamente breve, en donde lo que al inicio parece ser la atracción física que un alumno de colegio siente por otro termina siendo algo muy distinto. Weekend a la campagne explora la amistad de dos chicos franceses que deciden pasar juntos un fin de semana en una casa de playa; no obstante, allí uno de ellos desea algo más que amistad y decide a cruzar los límites. Bramadero es una cinta muda en la que dos mexicanos tienen relaciones sexuales. Finalmente, Zucht (2008) es una historia muy tierna de un chico de 13 años que va a la playa con una niña de su edad acompañada por su padre; todo lo que ella quiere es que el chico la bese en la mejilla, y todo lo que el chico quiere es hacer eso mismo pero con el padre de su amiguita; la inocencia de la infancia, la diferencia de edad y la torpeza se manifiestan en este extraordinario cortometraje sobre la idealización del primer amor.