negation A jerk from surrounded by police cars, a senseless attempt to escape. Clicking the handcuffs, and darkly blackening the empty screen. What was that? The jury of the Venice Film Festival decided that it was the “Golden Lion”, giving the highest prize to this work by Lorenzo Vigas, making commentators and critics wonder what it really was, attributing to the director’s plan the mission of the discoverer of the Venezuelan “social fauna”, who bought the location of the selectors of the respected film forum, petting, leaving him with a former mystery: so what was it? For someone, it is simple - the morning at the doorstep, but in fact - the wires of love.
Vigas had a modest idea, a sophisticated plan that fits literally into a few lines. But to develop the idea, he needed a form, a shell of an intimate story of an imperceptible elderly man, disposed to contemplative sex with young guys, sparing no money for this, and interrupting in deaf loneliness, the reason for which is known only to him and his sister.
Once the old man miscalculated, luring into the house of the antagonist, with a cry rubbed on his face the dirty stain of the hateful word with which he lived and from which he hid, unsuccessfully struggling with the fate, as can be seen, imposed on him by his not yet dead father, whose mission, nevertheless, remains an unstated confession of something forbidden or sinful, prompting a man to accept a cry for a challenge, which the young man could not expect.
Elderly Armando is a mature man with a different sexuality, which he does not want to admit and with which he cannot accept, ready to sign blood that there is nothing unusual in him, but the fury of the young man awakens in him a paternal feeling, with which he rushes to seek the favor of a wild teenager who means only the old man’s purse, in thoughts not allowing him to ever lie next to him in bed.
Dictated by the director's fantasy, before the eyes of the astonished public, there is a psychological transformation of the savage, tamed by an impostor - a daddy who has become almost closer to his own family, and an even more amazing transformation of his sexuality, taking which the young man rushes even closer to his patron, not paying attention to the quite obvious catch that determines their essential differences.
Armando, perceiving as a tragedy, a lifelong denial of his sexuality, is unflinching in denying it, while young Elder easily crosses over to the other side, without dramatizing the isolation caused by his discovery of the street and relatives, ready to share happiness with another loneliness. Oh, if only that loneliness didn't mind.
This is the main conflict that breaks out into a bitter final for both sides, when betrayal becomes an imaginary means of saving a person who is powerless in the struggle with his own identity, over the origin of which, guessing, can be broken head. Therefore, it remains to ascribe it to a traumatic childhood, which so cruelly broke the personal psychotype, pacified by the victim of sincere friendship, which does not change what remains with him invariably inside.
Apparently, the Venetian jury, having considered this human tragedy, decided to encourage the idea of an elderly novice director, closing its eyes to the generally nondescript look of this picture, casting a superficial glance at the urban life of Caracas with criminally troubled teenagers, on the slums with mazes of faceless concrete houses, digging deep inside the main characters, keeping their actions in priority, so it is not necessary to talk about the power of acting here, unless we take Alfred as a sick person, but the main one who can live with him as a psychotic, but is still a sick person, because Ellady in this state of happiness, he seems to be confused in this way.
