Martín a 42-year-old TV Presenter, tells Leonardo a 45-year-old agronomist and his partner for ten years, his desire to be a parent by adopting a baby. He feels deep down the need to be a ...
See full summary »
Martín a 42-year-old TV Presenter, tells Leonardo a 45-year-old agronomist and his partner for ten years, his desire to be a parent by adopting a baby. He feels deep down the need to be a father as soon as possible. Leonardo, having been adopted himself, has doubts. Upon learning that the adoption of a baby can take years, Martín decides to attend a support group for parents in the process of adoption. Leonardo tries to be supportive of his partner, while the doubts generated by the process they started transfer to his work in the field. A proposal to make a 'serious' TV Show, leads Martín to a children's Transit Home. There, he and Leonardo meet Raúl and Benjamín, two orphaned brothers. That relationship will soon lead the couple to rethink the priorities they've had so far. Martín's anxiety and Leonardo's discomfort deteriorate their relationship, until they separate. Martín is enticed by the ideas of a quirky woman, an athlete from the support group who is married to a former ...
Martín (Diego Gentile) and Leonardo (Rafael Spregelburd) have been a couple for ten years. The first is an actor who became famous as a host of entertainment programs and the second, an agricultural producer with environmental and social sensitivity.
During a dinner, when Leonardo is about to propose to her, Martín comes up with the proposal to adopt a boy / girl. Sooner rather than later this leads to a crisis in the couple.
This dramatic comedy by Daniel Gilmelberg (located at the antipodes of I am afraid of a bullfighter) presents two successes in his approach. The first, to present a consolidated, loving and middle-aged gay couple (with some sexual scene play, even), moving away from the standard of youthful and often Apollonian protagonists of Argentine LGTB cinema.
The second success is that the approach to the issue of adoption (and other conflicts that arise) is almost independent of the gay nature of the couple, with a "normalization" unthinkable years ago. This naturalized look from the film on this male couple is a bold trait.
As for the adventures of the protagonists, which at some point bifurcate, Martín's bet more on comedy, incorporating his family and work environment, trying with uneven success to enter the field of plain and simple comedy. The dialogues between him and his sister are very good, by Valeria Lois (one of them, in sequence, remarkable) and the appearance of a character by Florencia Peña introduces notes of picaresque ease.
Leonardo's subplot, which is related to his past, with a tone more in keeping with his character, in my opinion is the most interesting part of the film.
The film is educational in terms of the problems and bureaucracy of legal adoption in Argentina and in its own way distances itself from other possible paths, such as biological paternity.
As I pointed out their successes, it should also be noted that this upper-middle-class couple, due to their concerns and their choices, represents a gentrified model of a gay relationship. Paradoxically, the audacity and progressivism of the "normalized" approach also carries at the same time a perhaps conservative moral.
1 of 1 people found this review helpful.
Was this review helpful to you?
| Report this