En malas compañías

...or only a precise sketch about cruising, teenager fantaisies, a sort of revolt, half comedy, half new perspective about an old theme. Nothing remarkable but real nice for the mix of fronda, desires and not bad end. Short, a smart idea, a not bad film.

Right from the start this short draws one in. The voice-over by Israel Rodriguez playing Guillermo is apt and witty - the writer had a flash of genius.

The film's about cottaging and speaks to a truth rarely acknowledged - that young gay guys make the running in these situations. No one was exploiting Guillermo although some of his conquests were persistent. Rodriguez was eighteen when he appeared in this film and did a fantastic job both acting and speaking as a confident sixteen year old.

Bi-guy Asier played by Pablo Puyol (already twenty five here but meant to be an eighteen year old) had his hands full when he and Guillermo started dating. The lure of the cottage was still strong. But the slightly crass English title gives a clue as to what had happened in the interim.

I've seen this twice and even devised a set of French subtitles for a friend some years ago. I lost my copy of the film but would gladly watch it again.

THE BOLD STORY OF A NAIVELY SPICY TEENAGER

I have to confess that for years, possibly 2018 when I saw it for the first time, it has been one of those "guilty pleasure" type films. One of those that I watch when I want to remember something from my adolescence. And boy does it do the job.

Spanish short film (which could be said to be one of the classics of Spanish independent LGTB+ cinema and even if you want, a "cult" film in the LGTB+ scene) that addresses the oldest sensations, desires and experiments in the world, from the point of view of a crazy teenager just as hormonal as many of us at the time. Let's not pretend that we all went through that and we enjoyed it in our own way! And the fact that it was made 23 years ago with an obvious advance for its time is phenomenal.

The acting of the protagonist is sublime, and his role is for me, one of the best in the Spanish scene, I say this because his role is very difficult to achieve, with that UNIQUE naturalness and spontaneity that is not achieved no matter how much exhaustive coaching is done. You are born having that something that makes you get hooked on the story of your character. Sublime!

Whoever thinks that we praise the oldest behavior in the world is seeing the brusqueness in the other's eye and not the essence that the director wanted to capture.

This was an attempt super ahead of its time, to capture the experiences (as I said) of our teenage pasts, but in a fresh way in its time, which has aged over time in its almost 24 years of release, perhaps independent LGBT + cinema should take note and reconsider both how it is produced, how it is directed, how it is structured and how it is done properly and without so many unnecessary clichés, excellent films and even with messages.

Like a good wine, we as adults now enjoy this work, which wastes almost nothing... or perhaps it should have had more time.

Perhaps it is a comedy, so that we all play the cassette back as we say here and have a good laugh, remembering in a way that is neither boring nor dull, those years of adolescence where we sent the limits to the green meadows.

The title of my review is an extract from the song "Hoy Voy A Gozar De Ti" by Lefty Pérez.

Antonio Hens' "En Malas Compañías" (2000), also known as "Doors Cut Down," is a potent exploration of teenage sexuality and the complexities of identity within a repressive social milieu. Set in the suburban confines of a local mall, the film masterfully juxtaposes the public and private spheres of its protagonist, Guillermo, portrayed with remarkable nuance by Israel Rodríguez.

Film Analysis and Themes

"En Malas Compañías" follows 16-year-old Guillermo, whose clandestine encounters in the mall's restrooms form the crux of the narrative. Despite his apparent self-assuredness, Guillermo's introspective voice-over reveals his naivety and confusion regarding the attention he receives from older men. This internal monologue is a critical device, exposing the dichotomy between his self-perception and the external reality of his allure.

The film delves deeply into themes of forbidden desire and societal repression. Guillermo's interactions, particularly with his tutor and other anonymous men, underscore the clandestine nature of his sexual explorations. His infatuation with Asier, a seemingly heterosexual tough guy from the neighborhood, further complicates his emotional landscape, highlighting the fluidity and complexity of sexual identity.

Director Antonio Hens utilizes the public restrooms of the mall as a symbolic space where societal norms and personal desires clash. This setting not only intensifies the narrative's tension but also reflects the broader social commentary on the policing of queer spaces and identities. The subplot involving Guillermo's parents, who seek therapy to come to terms with his sexuality, adds another layer of depth, underscoring the generational and cultural challenges faced by LGBTQ+ youth.

Cinematic Techniques

Antonio Hens' direction is both bold and intimate, capturing the raw vulnerability of Guillermo's journey. The cinematography by Alfonso Segura is particularly noteworthy, employing tight framing and close-ups to draw the audience into Guillermo's world. This visual intimacy is complemented by the film's restrained use of music, composed by Nacho Mastretta, which subtly underscores the emotional undercurrents without overwhelming the narrative.

The film's aesthetic choices are deliberate and evocative, enhancing the storytelling by creating a sense of claustrophobic tension that mirrors Guillermo's internal struggles. The use of public and private spaces is deftly handled, with the mall restrooms serving as a liminal space where societal norms are both enforced and transgressed.

Performances

Israel Rodríguez delivers a standout performance as Guillermo, capturing the delicate balance between vulnerability and defiance. His portrayal is both raw and nuanced, making Guillermo a deeply empathetic character. Rodríguez's ability to convey complex emotions through subtle expressions and body language adds a layer of authenticity to the film.

Pablo Puyol, as Asier, provides a compelling counterpoint to Guillermo's character. His portrayal of a seemingly macho figure hiding his true self adds depth to the narrative, highlighting the performative aspects of gender and sexuality.

Conclusion

"En Malas Compañías" is a powerful short film that offers a candid exploration of youth, sexuality, and the quest for self-acceptance. Its explicit content, while provocative, is handled with a sensitivity that respects the characters' inner lives and the broader social context. Antonio Hens' direction, combined with Israel Rodríguez's compelling performance, creates a film that is both emotionally resonant and visually engaging.

Rating: 7/10.

No explicit content but several implied sex scenes. Many sexual encounters rage from casual to intimate.