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In 1980s Madrid, art student Biel Duran (as Jaime) wants beautifully scarred Adriana Ugarte (as Maria Jose) to see his etchings, but she is more smitten with tall and shy Nilo Mur (as Marcos). The two young men are buddies, and get Ms. Ugarte to come over and smoke some hash. When it becomes obvious Ugarte and Mr. Mur are mutually attracted, Mr. Duran steps out so they can be alone. He quickly returns, however, because Duran has ulterior motives. You see, Mur is impotent. So, he gets the woman turned on, then cocky Duran arrives to finish the fornication...

Duran and Ugarte copulate successfully while Mur watches. "Girls always prefer him," Duran explains, "I need handsome friends for their scraps." This leads to some questions about credulity, in my mind. The men seem to both be generally attractive guys; however, we are led to believe Duran is the homely companion to Mur the Adonis. Not buying it.

Ugarte is a great beauty, by the way, with mesmerizing nipples. Anyway... the "3Some" continue on in this manner, with Ugarte sometimes reluctant in the early encounters. Eventually, they form a non-bi sex triad. This leads to some inevitable relationship problems, especially as the three can't remain bohemian art students forever... The most interesting story thread is that Mur is more emotionally disturbed than impotent, which helps explain some things. Salvador Garcia Ruiz is a hypnotizing director, taking us along on this tricycle ride, albeit to an anticlimax.

****** Castillos de carton (10/25/09) Salvador Garcia Ruiz ~ Adriana Ugarte, Biel Duran, Nilo Mur, Pepa Pedroche

Two friends, Jaime and Marcos, both studying painting at an art school in Valencia, decide to use a two-pronged hook-up strategy on a female fellow student, Josey. The handsome, sensitive, upper-class Marcos is the bait in their honey-trap, but unfortunately he's impotent - so dogged, workmanlike Jaime steps into the breach when Marcos fails to consummate the seduction. Consequently the trio become an unlikely item, and concoct rules to deal with the lopsided asymmetry of their triangular relationship. Various issues arise, but the group dynamic is kept in balance by Josey's inability to have orgasms within the arrangement, much to the frustration of Jaime who prides himself on his prowess as a sexual swordsman. The three of them engage in a series of shallow, self-important discussions about art, life and love as the affair progresses, but "3some" doesn't convey that the relationship is either credible or valuable, since they keep making big mountains out of small molehills. The film's glibness is exemplified in the sequence where Marcos' longstanding impotence is suddenly and implausibly cured - not in a moment of safety and intimacy - but with a hurried encounter in the bathroom during an awkward visit to Josey's parents' small apartment. The balance shifts after this episode, and fracture lines begin to appear. Unfortunately for "3some", it's hard to believe very much is at stake when the tensions manifest in petulant jealousy, dishonesty and broken rules.

Marcos, Jaime and Jose build up a particular relationship in their lives. The story about three painters and friends is going to be the excuse the director focuses on to tell something about personal affairs, friendship and how love can be shared. As part of it, painting will be the connecting thread so that the three main characters express their fears, frustrations and ambitions. The rhythm is slow, sometimes seems slow motion, though it is offset by an intimate closeness with the characters, to whom the spectator almost knows at the end. Also the music and interior shots make the film cozier and suitable to describe in a particular way the world of art in the eighties/nineties in Spain. If you are expecting a masterpiece, won't find, but will discover three personal stories that seem to be only one.

3some isn't just about romance-it's about the messy, complicated nature of desire and self-discovery. Marcos, Álex, and Carla's dynamic is charged with tension, attraction, and the unspoken fears that come with breaking societal norms. The film's greatest strength is its honesty; it doesn't shy away from the confusion of exploring one's identity, nor does it force its characters into easy resolutions. Instead, it embraces the fluidity of emotions, making every moment feel both intimate and unpredictable. It's a raw, thought-provoking story that lingers, not because of shock value, but because it dares to be real.

Visually, the film takes a minimalist yet deeply evocative approach. The cinematography is often intimate, using close-ups and natural lighting to enhance the rawness of emotions. There's a delicate balance between warm, inviting tones and cooler, detached visuals that reflect the shifting dynamics between the trio. The soundtrack subtly underscores key moments without overpowering the narrative, allowing the performances to breathe. Every artistic choice feels intentional, creating an atmosphere that mirrors the film's themes of vulnerability, passion, and the uncertainty of youth.

The film failed to fully depict the art, the love, the sex, & the death that made this story so intense. Art formation made Jaime, Marcos, and Jose to meet; love was so intense but it wasn't captured by the camera.

The nudes and sex scenes where short and sporadic, and they didn't give the sensation of forming part of a long relationship spanning several months.

Other thing that disappointed me, was the failure to depict Madrid's crazy life of the early 80s. Crime and instability are showed through some audios from the newsreel in the background; but a more liberal Spain and the artistic boom of the 80s don't appear on the screen.

Art, love, and lust apparently are words that doesn't exists in the director's vocabulary.

Something much better could've been done with such a great story; just like they did with "Le Mepris" (1963) from Jean-Luc Godard.

PS: Almudena Grandes didn't receive the credit of the story in this film.

I's a difficult situation that Maria José has to deal with - she's attracted by two guys at the same time and they end up in bed together. The three students arrange themselves in a "ménage à trois", and they promise to do this without jealousy. They share the same flat and they share the same bed. As one can imagine, this will work for some time, but is getting more and more complicated.

For some of us, this situation seems to be far from imagination, but the movie shows the aim for love and being loved and the ambition to keep their unusual way of life apart from the so-called normality in a very sensible way. It is not speed that makes this movie. It's the exciting storyline of love and sexuality, of spoken and unspoken dreams, of an unusual way of sharing life and of emotions breaking the self-made rules, of cheating and of jealousy.

Even though there are a lot of nude scenes throughout the film, it never gets naughty. Don't expect action. Expect drama. Expect great actors and a fascinating story.

I don't understand why this movie does not receive better ratings. My cable program guide listed this film 1 1/2 stars out of 4 and the ratings here are not much better. I'm glad I gave this film a chance because I really enjoyed it and recommend it to all film watchers who are looking for quality story and production. You will find the characters interesting and watchable. Three art students decide to have a sexual relationship with each other. When they reveal their inner most personal sexual problems to each other while laying around in bed is well acted and written. The emotional problems they encounter in their three way relationship shapes the rest of the film. I don't want to give too much away so you can enjoy it as I did.

I was also amazed at how little rating this film has gotten. I gather it is one of those films that either connect with your senses, or it doesn't. The story may be a classic menage-a-trois with an, some would say, unavoidable outcome. But there was nothing classic about this film. It is a very unique piece of work. It was among the best 10 films I have seen. The authenticity of the play, and the scenes where so much was said and no one spoke, is sublime. It is a film that is suppose to be felt more than seen, or heard. If you like Korean instructor Kim Ki-Duk's film, you'll love this one. A very fine portrait of the seeking nature of youth, with a logic that seems so evident at the time. Yet later on in life is discarded as rash or not prudent, or outright promiscuous. It portraits the dilemma between open mindedness and and the fear of loosing the tender moment.

This movie's a unbalanced boat which tampering itself with little rocks that keeps pushing itself to touch the beach but after got close the boat realise that it wasn't beach it was a island!