Directed by Christopher Munch
This is a story about two brothers: their lives, their childhood memories and also the seemingly incestuous nature of their relationship.
But what is incest and why is it important to clarify the term? There is a basic incest, universally known as the Oedipus complex, the carnal union between mother and son, which is considered in many cultures the ultimate taboo. Basic incest, as Claude Levi-Strauss explains it, is only a way to resolve the impasse between the autochthony of man and sexual union. Autochthonous man means a man that is born from the Earth itself, and most cultures explain the origin of men and women in a similar way: a sacred plant or fruit gives birth to the first man, or man comes directly from a sacred land, a river or a lake. This mythical origin of man collides with the certainty that man is the product of a sexual union, and thus the Oedipus complex pretends to resolve this impasse.
But there is another incest, a non-basic one, which focuses on forbidden relationships between members of the same family (brothers, sisters). And this incest certainly does not respond to an archetypical or mythical structure. It's only something that defies social boundaries. It's also a violation of law, a law that comes (like all primitive laws) from a consuetudinary norm. The law is indeed the consolidation of habits and costumes from any given people, and as they are mere practices they are neither right nor wrong.
But before consuetudinary norm can thoroughly transform into law there are cracks. And it is between one of such cracks that Max, the younger brother, defies established limitations. He has always admired his older brother, but as adolescence strikes him he finds out that admiration soon turns into sexual desire. At the beginning of the film Harry doesn't live in the house anymore. He's a boy band star, he has had successful songs and he's famous. And Max is also immersed in the pop industry. They are both good looking and young, but nobody knows what their secret is. They seem to wander, at moments, in an in-between area of sexual ambiguity. As boy band stars they are the protagonists of young girls fantasies but are forever condemned by males as an effeminate product created to please a certain audience. It doesn't come as a shock to see that most girls enjoy these boy bands whereas guys are into different musical genres altogether. The movie elicits the possibility of Max engaging in heterosexual activity at the same time that his brother Harry tampers with the option of having sexual intercourse with an older man.
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| I drew this in 2011 (page 2 of 2) / dibujé esto en el 2011 (página 2 de 2) |
Christopher Munch explores fissures in social structures and provides us with a tale of brotherly and non-platonic love, self-discovery and ambiguity. Whether or not these subjects are appropriately depicted by Munch is up to the spectator... But what can never be denied is Munch's courageous effort of swimming upstream with a story of a most peculiar incest: brother on brother.
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Todos los que me conocen saben que Dédalo es como mi segunda casa. Aunque es importante aclarar que no solamente estoy acostumbrado al Dédalo de Barranco. Recuerdo con claridad meridiana el mes de diciembre de 2005, cuando me encontré con María Elena Fernández en el Wong de Asia, en ese entonces, había una sucursal de Dédalo en el boulevard veraniego más transitado del país.
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| Dédalo en Larcomar (foto de Sofía Lores) |
Con el tiempo, Dédalo ha ido superando los límites geográficos barranquinos, y hoy se encuentra en Miraflores, al lado de la librería La Familia y, por supuesto, también en Larcomar. De hecho, el miércoles en la noche se inauguraba este nuevo espacio y yo, como no podía ser de otro modo, hice acto de presencia.
Saludé a María Elena Fernández, a Eduardo, Gabriel y Sofía Lores. Y me quedé conversando más de una hora con Isabelle Decencière y Mónica Cuba, quienes actualmente están pintando un impresionante mural en Larcomar. En el transcurso de la noche me tomé 9 o 10 copas de espumante Navarro Correas, y tuve oportunidad de charlar con Nicolás Pazos Navarros, Javier Masías (el ex editor de la revista COSAS, a quien conocí en las oficinas de COSAS), Laura Alzubide (la subeditora de la revista CASAS, del grupo COSAS) y de hecho saludé a escritores muy queridos como Fernando Ampuero, Guillermo Niño de Guzmán y Alonso Cueto.
Aunque, sin duda, lo mejor de la noche fue encontrarme con mi amigo Brian Power, quien había asistido a la inauguración del Arábica de Larcomar. Obviamente, también fue divertido encontrarme con Érika Beleván, quien llegó con las cámaras de Polizones. Intentó entrevistarme, pese al alto volumen del trompetista que amenizaba la velada.
De todos modos, les recomiendo que visiten los nuevos locales de Arábica y Dédalo en Larcomar. Encontrarán productos maravillosos que los harán olvidar, aunque sea brevemente, las tensiones cotidianas de fin de año.
Otro evento importante durante la semana fue la primera muestra de la Galería del Paseo, sala uruguaya que entra al mercado limeño de la mano de la galerista Cecilia González. La muestra “Brillantes uruguayos” reúne obras de Nelson Ramos, Margo Maggi, Ana Tiscornia, Ricardo Pascale y Martín Sastre. Al mismo tiempo, se inauguraba una muestra colectiva con obras de Alejandro Jaime, Luana Letts, Mariu Palacios, Casandra Tola, Karen Macher, Alberto Patiño, Gianna Pollarolo y Hugo Zapata. Allí conversé un buen rato con Hugo Alegre, mientras tomábamos whisky Dewar's y heladas copas de espumante.
