Tremblements

Story takes place in modern day Central America and seriously, it might seem more appropriate if it had taken place in Nazi Germany. An ultra conservative, wealthy, holy roller family and sadistic church leaders practicing homo conversion therapy puts enormous pressure on a middle-aged, married gay guy with children to conform to their expectations. The plot would be more convincing if the married gay guy were much younger, in which case we would expect him to be more vulnerable to family, religious and societal pressures. But here we see an older, gay guy, who has recently come out, but doesn't yet seem to have a strong enough mind to overcome the steaming piles of BS that are being heaped upon him at every turn. On the other hand, his gay boyfriend has totally accepted what he is and what he likes. He makes no apologies for what he likes to do with other consenting adults. The actor playing Pablo has a lean, tall, masculine, athletic build...unfortunately we don't get to see much of it. Pretty much a bummer of a movie....not much visually that's interesting or pretty. The story line, as told, doesn't seem very likely. There's a paradox here of sorts....the primary character, Pablo, looks strong and mature, but he's just a baby inside. He can't think for himself and relies upon others to think for him. Six stars for a respectable attempt.

Watch if you like Latin American soap operas otherwise avoid it.

Temblores is the second full length feature film by Jayro Bustamante, following the much acclaimed Ixcanul from 2015.

The film follows Pablo, a married man with two children who comes out as gay and whose life begins to unravel as society rejects him and his evangelical family goes to great lengths to cure his homosexuality.

The story starts out strong, perhaps too strong. The issue with the first scene is that we are thrusted into the conflict without much context to make us care for the protagonist or any of the characters in the movie. The stakes are so high, but without much needed backstory or exposition to engage the audience before this event takes place the whole mood feels very premature.

The relationship between Pablo and his boyfriend, Francisco, lacks chemistry, they also come from very different social backgrounds and have very different beliefs. I would've liked for the movie to provide some backstory as to how they met and what made them fall in love, or at least provide this information through dialogue because I didn't buy it. There's also very little physical contact between them, which is not realistic for a gay couple living alone in an apartment.

Juan Pablo Olyslager and Sabrina de la Hoz deliver the strongest performances out of the cast. I also enjoyed the performances of the two kids. They are very well written, the way they rebel at not being able to see their father is heartbreaking and the dialogue they share is very well written. There isn't really a bad performance in the movie. The issue lies in the writing. All the characters in the movie function around the protagonist, they have no story arcs or motivations of their own. The lack of character development reduces all the supporting characters in the film, except for Francisco and the kids, to vile religious fanatics with zero redeeming qualities who will ruin Pablo's life as long as he's gay.

In conclusion, the film didn't know the right place to begin or the right place to end and the middle is a myriad of sequences that eventually lead nowhere. For a film to tackle such sensitive issues, I feel like it still walked on eggshells around them. I expected it to be more crude, more real, to go all in on these issues, but for a film called Temblores, I expected to be shaken to my core and it barely made me shiver.

Set in Guatemala, Pablo (Juan Pablo Olyslager) faces a crisis in his life when he reveals to his family that he is gay and will be moving out to be with his male partner Francisco (Mauricio Armas Zebadua).

Pablo's wife Isa (Diane Bathen) gets the courts to issue a restraining order against him so he cannot see his two children. She eventually will threaten him that unless he enrolls in a gay conversion therapy program in their radical religious church, she will take the children to America.

Overall, I thought this drama was solidly acted with realistic characters, as well as ably written and directed by Guatemalan filmmaker Tayro Bustamante.

Guatemala City is much like other prominent cities in South America: rich in diversity and burgeoning business. In the matter of gay men, writer/director Jayro Bustamante's Tremors depicts an Antigua state of mind: a family man who professes love for another man is in a world of hurt for his family and himself. Nothing is in the least progressive.

Such a narrow but not uncommon reaction by a local culture as offers a candid representation of the troubles gays can experience in a heavily Catholic and conservative small world. So authentic are the reactions, the film could have just as well have been about the effects of divorce on a community.

Pablo (Juan Pablo Olyslauer) comes home to a phalanx of family ready to condemn his choice of male love over his current heterosexual family life. Olyslauer's underplayed performance makes Pablo an audience-identifier of a person coming to terms with prejudice couched in family values.

Being unjustly called a pedophile, in order to separate him permanently from his children, may be the final indignity for a man who deserves not an iota of scorn for a choice not easily made and deeply felt for the grief he has caused his family and friends. It is rare to find such an honest portrayal of the difficulties a decision like his causes for everyone in his life. Without rancor or weeping and screaming from his family, Tremors quietly exposes the blindness of those surrounding him and his own uncertainty that he may have made the wrong decision.

The later scenes of his society's helping him becoming normal through therapy are the real pain of Tremors because his heart is not in the transformation, but he is willing to sacrifice his own happiness to be with his family.

Nowhere in contemporary cinema will you get as uncompromising a view of the unjust heartache attendant on choosing a societal imperative over one's happiness.