'The Strong Ones': Film Review

Two unmoored guys in the cold Chilean boondocks find relaxation and warmth in each other in The Powerful Ones (Los Fuertes), the remarkable feature debut from writer-director Omar Zuniga. The movie investigates the exact same characters and world as Zuniga's brief San Cristobal, which won the Teddy for greatest LGBTQ brief in the 2015 Berlinale. Along with the transition from short to feature seems easy.

The Powerful Ones' unforced naturalism and feel of romantic authenticity have made it a queer festival darling: The movie picked up awards in Philadelphia, Atlanta, Rochester, in Outfest in L.A. and in Florida, in which it netted not just the Best Narrative Feature trophy in the OutShine festival but had been named Best Foreign Language Film from the Florida Film Critics Circle. Distributor Breaking Glass Films is releasing the movie stateside on VOD and DVD on Jan. 19.

Lucas (Samuel Gonzalez), whose scruffy stubble and twinkle in his eye indicate he is a lively, easygoing kind in mind, has marketed his things and left Santiago. But before heading into Canada, he has return to Niebla, a foggy -- as its name implies -- fishing village at the Valdivida region about 500 miles south. He is to remain for a couple of days along with his dentist Catalina (Marcela Salinas) and her husband Martin (Rafael Contreras) before departing.

Even though there's quite a great deal of affection between the siblings, their reunion is not just a happy person. And from many telephone calls, it broadcasts Lucas and his parents are not on talking terms. It's never quite termed, but it is apparent their lack of acceptance of his sexual orientation would be to blame. Maybe even Lucas' choice to depart the nation was at least partly influenced by this too.

Additionally, it appears to be a really unwelcoming and humid autumn season. The rain on the roof, the occasional electric blackout and the freshwater sand out Catalina and Martin's little home become metaphors for its provincial quagmire where the characters find themselves. But when you are beginning to wonder why anybody would want to stay in a location such as this, input the grandson of Catalina's national help (Gabriela Fernandez), the silent but steely Antonio (Antonio Altamirano). The boatswain on a regional sardines-fishing vessel could not imagine living anyplace else. He participates in re-enactments of occasions in the Chilean War of Independence staged in a historical beachfront fort (the film's Spanish name can refer to both"temples" and"powerful people"). Having a mind of lively dark curls and also an Errol-Flynn-but-hipster mustache, he instantly catches Lucas' interest.

Both guys take an immediate liking to one another and gradually sunlight sometimes begins to emerge -- at least metaphorically speaking. Their spontaneous initial kiss occurs at a parked car at nighttime. The only accessible light emitting to the automobile is a fiery crimson, nearly literally setting the minute ablaze. Zuniga has a true knack for carrying regular components, like red taillights or a tea pot on a stove, and changing them into items that help to tell the story visually or aurally. The pot plays a important part in the couple's first visit to Antonio's house, as both, finally , can't keep their hands off each other while they wait patiently for the water to boil. The consequent build-up into the whistling of this pot makes the mounting strain of the mutual desire clearly perceptible. Additionally, it provides the figures something to think about as the boiling water wants a measure of care they've firmly spent everywhere.

As in that film, there is even the pressure-cooker detail of among the guys needing to depart the country very shortly.

But apart from the sensual existence and exceptionally lived-in performances from Gonzalez and Altamirano -- equally entirely in tune with one another and with all the relaxed naturalism of this substance -- it's Zuniga's eye for telling casual detail which makes the job stick out. We never hear or see anything around Lucas' backstory, by way of instance, but from how he places on his underwear in the middle of night once they have made love for the very first time, it is apparent he is accustomed to one-night stands.

Likewise it will become evident from both behaviour and oblique references from the dialogue there appear to be distinct levels of approval from Chilean society for homosexual relationships -- and also differences between town and the countryside. However, Zuniga ensures that the sociopolitical background remains just a background to an extreme romance atop a ticking time bomb. Are they strong enough to opt for each other? Or would the more powerful alternative be to delight in their sudden romance while it continues and then proceed to trying to create their larger ideas to their future a fact (Lucas getting an architect and Antonio possessing his own fishing boat )?

While the figures ponder their choices, to the viewer it will become evident that that society, faith or traditional morality are not instantly dictating exactly what the protagonists do must be viewed as some sort of progress.