I adore the screenplay. Beautifully crafted. Nuanced and sublime—a beautiful piece of art. My initial reaction to the introduction was a sort of a younger, dramatic take Harold and Kumar‘s adventures with Tenoch and Julio (played by Diego Luna and Gael García Bernal, respectively) in Mexico City. But I knew better because it was co-written and directed by Alfonso Cuarón (Roma, Gravity, Children of Men).

 

It’s lovely how the opening scene featured a post-coital promise between a young couple to not have sex with people while one person, Tenoch’s girlfriend, travels to Europe. They specifically vow to not smash folks of various nationalities. Also lovely that one of the nationalities that did not make the list was a person from Spain. Oh, and the irony in that (spoiler) the one person who initiated the truce, Tenoch, was the one who broke it, with his primo’s wife, who was from Spain. And did it while he was on a road trip with his best friend Julio, who later confessed to smashing his girlfriend. My god. **chef’s kiss** I was stressed watching this, but the writing was tea!! ☕☕☕

 

Great use of foreshadowing with all the roadblocks and police raids the trio passed during the road trip to Heaven’s Mouth. The director’s choice to briefly mention the stops/roadblocks while the camera fully spans the action was a nice touch and signaled there was more to come. The narration was a useful guide and a great accompanying foreshadowing tool. I tend to think of narration as a negative filmmaking tool because it’s often overutilized as a crutch to help pace a story. In this film, however, it provides a reference point for moments that seemed minuscule earlier in the narrative but provided great returns in the conclusion.

 

My favorite moment was that the climax of the film is a climax.

DONE.

Bruh, I was done. I had to pause the movie. 🤣🤣🤣 This man, Alfonso Cuarón, is a damn genius, bruh. Something about that scene felt like some Akira Kurosawa-type shit. Amazing.

 

The swimming pools were significant and aligned with the plot. To think, during the introduction and the rising action of the film, the structure was used as a backdrop for playful races between the two friends; I really thought nothing of it. Cut to Tenoch and Julio gooping into the pool after masturbating alongside each other while fantasizing about Salma Hayek, and later to racing each other in full competition-mode, post-Tenoch’s illicit affair with his primo’s wife. That sequence (sex-race-aftermath) led to Julio confessing to smashing Tenoch’s current girlfriend. Lord, the fragile egos of adolescence boys. The constant one-up, push-pull of their friendship from that point on was immaculately acted. So much so that I forgot they were acting!

 

Sounding like a broken record, but the writing was the obvious standout element in this film. It’s balanced and intentional. Small details seemed insignificant during the film but pay off later, and were quiet in the pay-off. I had a few “ah-ha” moments, and I loved it! Like the art is working hard and I’m catching shit—like a Pusha Thanos featured verse.

 

And the acting of the main characters! Let’s talk about how after a while I forgot I was watching a young Diego Luna (Narcos: Mexico, Rogue One: A Star Wars Story) and Gael García Bernal (Mozart in the Jungle)! They are fantastic artists anyway, but in this, they’re just **chef’s kiss.** Ana López Mercado, who played Ana Morelos, is so good in the supporting role. She’s dips in and out of being the main source of tension and conflict, then it’s she like re-absorbs that energy for good use later. Her character seems entropic, and it helps drive the narrative of her secret.

 

The conclusion mirrors the introduction. A shared intimacy. A pact. A truth where some of the facts are hidden.

 

The rhythm of the screenplay is steady–no wasted space. Cuarón made sure a captured look wasn’t lost on the audience. The emotion between the three main characters doesn’t dissipate, no matter who’s the main focus in the moment. I love it when there’s so much emotion and tension in small glances, and when actors are fluid and don’t over-perform. Their performances felt so natural. It’s a commendable balancing act.

 

My only minus was the sound editing during the narration. It was like a voiceover with muted background noise, and was a bit jarring and awkwardly transitioned back into the actors’ dialogue.

 

Bless the writers. I appreciated that the cinematography wasn’t sharp. Felt like a true indie, on-the-run-ish film.