Two men in Buenos Aires, one of a British background but born there and the other American, polar opposites, are very similar in one way. They are both deeply psychologically damaged, beyond the point of repair. One is devastatingly sheltered to the point of social awkwardness while the other could charm the husk right off of the corn. They are Colin Firth and Hart Bochner as you've never seen them, and it's a salute to their courage of choice that their performances don't involve obvious acting, but great depth of psychological projection.
Firth has a mentally ill mother who has left him confused and alone and sheltered in his world of classic cinema, much like William Hurt's Molina in "Kiss of the Spider Woman". He views life as if it was a classic movie with him basically walking around in the crowd, determined to finally become a character in his own story. Along comes Bochner who gives him reason to become a leading character, and their instant bond becomes fraught with sexual tension as Firth becomes more clinging to him.
There's a few hints that the two men are completely dependent on each other, and not for healthy mental reasons. Firth claims to be interested in "women", not "girls", yet he seems very asexual in his relationships with them. Bochner is more flamboyant in his sexual passions, openly honest about his intentions of finding sexual partners of either gender depending on his mood. But he's involved in something dark, seen stroking the hair of a drunk male Argentine neighbor, then comforting a transgender who has just been publicly assaulted by a date. Nothing physical occurs on screen, so the imagination runs wild in trying to figure out who these two men are.
So when the possibility that Bochner is a sociopathic serial killer is revealed, the questions begin to arise in regards to his outward charm and you begin to view first as well for his dependency on always being around him. They play a fun movie game, naming three actors where the other has to figure out what the film in common is, and after first seeing this with a group of friends, we found ourselves playing the same game. It truly is addicting when started.
Fans of the British stage and screen will take delight in the appearances of character actresses Liz Smith (not the columnist) and Dora Bryan as two of the eccentric tenants that live in the same building. This is brilliant in the smallest of details with excellent moody photography, chilling music and an underlying hint of ironic subtle comedy. This builds up into a hunting conclusion that will keep you gripped throughout. Modern noir has never been so chilling.
Firth has a mentally ill mother who has left him confused and alone and sheltered in his world of classic cinema, much like William Hurt's Molina in "Kiss of the Spider Woman". He views life as if it was a classic movie with him basically walking around in the crowd, determined to finally become a character in his own story. Along comes Bochner who gives him reason to become a leading character, and their instant bond becomes fraught with sexual tension as Firth becomes more clinging to him.
There's a few hints that the two men are completely dependent on each other, and not for healthy mental reasons. Firth claims to be interested in "women", not "girls", yet he seems very asexual in his relationships with them. Bochner is more flamboyant in his sexual passions, openly honest about his intentions of finding sexual partners of either gender depending on his mood. But he's involved in something dark, seen stroking the hair of a drunk male Argentine neighbor, then comforting a transgender who has just been publicly assaulted by a date. Nothing physical occurs on screen, so the imagination runs wild in trying to figure out who these two men are.
So when the possibility that Bochner is a sociopathic serial killer is revealed, the questions begin to arise in regards to his outward charm and you begin to view first as well for his dependency on always being around him. They play a fun movie game, naming three actors where the other has to figure out what the film in common is, and after first seeing this with a group of friends, we found ourselves playing the same game. It truly is addicting when started.
Fans of the British stage and screen will take delight in the appearances of character actresses Liz Smith (not the columnist) and Dora Bryan as two of the eccentric tenants that live in the same building. This is brilliant in the smallest of details with excellent moody photography, chilling music and an underlying hint of ironic subtle comedy. This builds up into a hunting conclusion that will keep you gripped throughout. Modern noir has never been so chilling.