Liuben

The idea of creating Bulgarian cinema that addresses significant social issues, such as same-sex relationships, is commendable. However, the film fails to realize this potential. Instead, it attempts to tackle too many problems - from drugs and human trafficking to discrimination and dying villages - resulting in an overloaded plot and lack of focus.

The talented cast cannot compensate for the film's unconvincing and disjointed scenes. The lack of coherence and effectiveness in the execution, combined with an underdeveloped storyline, makes the film difficult to watch. Despite the team's efforts, the film seems to attempt too much at once, without providing a solid foundation for its main idea.

Nonetheless, congratulations to the team for supporting the film's idea and cause. In the times we live in, there is no place for any kind of division, especially regarding who chooses to share their life, time, and love with whom.

About ten minutes into the film I knew that this was a film for me. The deft touches showing village life, passengers on tractors, horse-drawn carriages, makeshift workshops, roadside sellers, old friendships, all made an effective backdrop to the story of the two main protagonists.

The portrayal of the most loathsome racism against the Roma minority was shown in unflinching detail too. So were the lengths that minority would go to to make money - Liuben's wife doesn't care about him having a relationship with Victor as long as she could benefit. Likewise, she betrayed him during her absence in Greece.

There was an instant attraction between the two lads from the start and their relationship was fulfilled only to be cut short.

I loved the coda to the film set in Madrid when Victor ran and ran.

This is a definite recommend.

Victor is back in Bulgaria for his grandfather's funeral. His last visit was 12 years ago, and we quickly understand that as a gay man, he felt safer abroad and was able to be himself in Madrid, Spain.

Coming back is an ambivalent, intense experience: everybody considers him a foreigner, although he was born and raised in this village. He remembers how it felt to grow up as a bullied kid at school, he catches up with his father and a few other people, and he befriends a gypsy boy, Liuben, who is desperate for a better future.

It's interesting that the title of the film is Liuben instead of Victor, maybe the director wanted to pay a tribute to the subaltern, most precarious character in the plot. The film is an excellent contribution to the topics of queer migration, as well as hybrid identities, corruption, representations of gypsies in cinema, and contemporary Bulgaria.

Like Joyland, And then we danced, and Land of Storms, Liuben is another illustration of how queer migrants need to find their way and voice elsewhere, and then come back to their country to direct some pioneering queer films as an invitation to move forward and be more inclusive.