FICG ’19: ‘The Blonde One’ is a triumphant rumination on machismo

Tension has become a trademark in Marco Berger’s work. You’re aware going into one of his films that the will-they won’t-they suspense will drive the narrative. The spaces in his films brim with silence, allowing the restless expressions in his characters’ faces do the talking. The point is not to make it seem like words are irrelevant—on the contrary, it is when his characters come clean that you realize the power of just talking. It is fitting then that The Blonde One, Berger’s latest film, was conceived with a mute lead in mind. While at the end they were forced to scratch that idea, Gabriel, the titular blonde (Taekwondo’s Gaston Re), clings to quietness throughout the story, even being referred to as “the mute” by his friends.

We meet Gabriel as he’s moving in to his co-worker Juan’s (Alfonso Barón) flat so he can be close to his place of work. Juan looks infatuated with the man from the moment he arrives, glancing at him for a bit too long and standing a bit too close to him at every chance he gets. While Gabriel is apprehensive at first, as he has a girlfriend and a daughter living with his parents, he’s ultimately responsive to Juan’s insinuations. The sexual tension builds until the end of the first act when a proposal to go out and buy beer quickly escalates—Juan finally acts on his desires and Gabriel reciprocates leniently. The implication here might be that we’re observing the dawn of a new love, but as Juan kicks Gabriel out of his room after having sex, we learn that’s not the case.

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FICG ’19: ‘Memories of My Body’ is a Personal and Harrowing Look at Gender

“My body is like a battlefield where the opponents fight one another,” proclaims acclaimed dancer and choreographer Rianto midway through Garin Nugroho’s newest film. He’s not only the narrator, but the story is also based in his own life. Indeed, the constant struggle that Juno, Rianto’s fictional representation, experiences with gender is the driving force for the aptly titled Memories of My Body.

The film is told in sections, marked by Juno’s age. In its early sections, it becomes evident that Juno is at odds with the world around him. Nugroho cleverly juxtaposes shots of kids playing and having fun with one another as Juno tends to be shown by himself, purposely avoiding people when possible. The children bully him and his teacher doesn’t hesitate to abuse him at the slightest mistake, even going as far as forcing him to write on the blackboard with chalk in his mouth. Juno is only happy when he is alone and spying on dancers as they put on makeup and practice their routines. As he watches them dance throughout the early stages of his life, his features fill with longing for what he can’t be.

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FICG ’19: A promising set-up turns convoluted in Jaime Rosales’ “Petra”

The search for one’s origin can be unyielding. A quest for belonging, for understanding of who we are and why we exist. It could be difficult for people who have never questioned where they came from to grasp how profound doubt is present in the everyday life of someone that’s missing a key piece of their identity. Bloodline is the thematic element that ties multiple parts in Jaime Rosales’ Petra.

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