Director

Rodrigo Sepúlveda Urzúa

Chile, Argentina, Mexico | 2020 | 93 min | Spanish

• Producer Gregorio González, Florencia Larrea, Lucas Engel, Alejandro Israel, Ezequiel Borovinsky, Diego Martínez Ulanosky, Jorge López Vidales
• Production Company Forastero, Tornado, Caponeto, Zapik
• Screenplay Rodrigo Sepúlveda Urzúa, Juan Elias Tovar
• Cinematography Sergio Armstrong
• Editing Ana Godoy, Rosario Suárez
• Sound Santiago Fumagalli
• Cast Alfredo Castro, Leonardo Ortizgris, Julieta Zylberberg, Sergio Hernández, Ezequiel Díaz, Amparo Noguera, Luis Gnecco, Paulina Urrutia
• Contacts

  Forastero

  contacto@forastero.cl

About the Film

Based on a solitary novel released in 2001 by the Chilean writer and historian Pedro Lemebel (1952 - 2015), for which he borrowed the title of a popular folkloric song, "I Am Afraid, Bullfighter" by singer Lula Flores, the compatriot Rodrigo Sepúlveda composed a melodious cinematic symphony about two contradictory beings that lead two hidden lives, each according to their destiny.

It is a tale about two destinies to which life, facts, natures, and public values will not do justice. A tale about an unequal relationship between an old and effeminate man, who loves nightlife, theater and music, and lives on the margins of his isolation and his abnormal world; and a young revolutionary mired in partisan commitment and blind involvement in a radical organization that seeks to overthrow a fascist regime.

The story follows the coincidence of a meeting that takes place against the backdrop of an attempt to assassinate Chilean dictator Augusto Pinochet (September 7, 1986), and the organized and brutal grievances that followed. It leads the characters to search together for something common that they might have overlooked, something that almost faded into their guts and consciences: that glorious companionship, its emotions, tendencies, and ties.

This is the story of the young man’s ‘exploitation’ of the chivalry and kindness of the lonely man—who calls himself ‘The Queen’ and embroiders linens for the generals’ wives to hide the weapons of the upcoming assassination in his dilapidated house. 

Sepulveda's film is full of tenderness towards two characters clouded by their choices. One of them is led by his homosexuality and departure from the ordinary, retreating in the face of the objections, insults, and contempt of others. The other is forced by a system of political violence to constantly conceal, disguise, look over his shoulder, and live in a permanent state of suspicion.

Perhaps the final scene on the shore of a desolate ocean is the most eloquent perceptual representation of that meritorious existential moment for their emancipation from the terror of tyranny and prejudice.

Ziad Al Khozai