Las horas muertas

I would call this a coming-of-age movie. This movie is a good look into how a boy with not much to do, and not many people around, finds a woman to fill his time with. His time is mostly filled with looking over the motel and overseeing his employees, but the return of the woman, María, gives him something to look forward to during the mundane, "empty" hours of his life. Sebastian has a boyish charm and his relationship with María, a wandering, free spirited woman, progresses beautifully throughout the film.

It is a simple movie with beautiful cinematography, and portrays a realistic look of a teenager's search for lust and love as he comes into adulthood and enters the mundaneness that comes with responsibility and work.

This movie leaves you short of the feeling of fulfillment. You never want it to end where it ends. But that's the beauty of it. It has a calming pace which lets you get the best out of the movie. It is not for lovers of quick and flamboyant entertainment. It is not erotic in an erotic way. It is much more real and believable. It is much like life itself. The actors have done a fairly good job. The boy-hero is almost lovable. The sentimental and sex-ridden heroine is quite sexy. The other females are what you see. Suddenly, it is one of my current favorites. I thoroughly enjoyed every bit of it. It is lazily romantic, aptly seductive and calmly erotic. You will watch it and ask for more...that's how I see it. Good watch for a rainy afternoon!

In the quaint realm of cinematic storytelling, "The Empty Hours" by Aaron Fernandez Lesur emerges as a gentle whisper amongst the cacophony, retelling a narrative as old as time in an understated yet serene manner. Through the film, Lesur eloquently demonstrates that minimalism, when well-executed, can often encapsulate more essence and emotions than grandiose displays.

The narrative orbits around two disparate souls: a youthful Sebastian and an elder woman, Miranda, who stumble upon each other by a mere stroke of fate. Though their interaction is fleeting, the resonance of their connection adorns their lives with a soft yet indelible touch, sketching a lingering effect that transcends the transient nature of their encounter.

The metaphorical representation of an iguana meeting a well-traveled mermaid elegantly captures the distinct worlds and timelines they hail from. Stranded on the same shore yet bound to different destinies, Sebastian and Miranda share ephemeral moments before being swept back into the tides of their own existences. These brief interludes, though not destined to blossom into something profound, were essential whispers of fate, earmarked for them to experience. While Sebastian glimpses into the future through Miranda's lens, she, in turn, traverses down the memory lane, reminiscing the ebullience of yore.

The delicate interplay of Sebastian's nascent hope for what lies ahead and Miranda's reflection on the dwindling days, sets a poignant yet hopeful undertone. This contrast carves a melodious rhythm that propels the story forward, providing a balanced vista of exhilaration and melancholy. Though the flame of their camaraderie flickers briefly, never destined to roar into a blaze, it's the fleeting warmth that accentuates the tender essence of the narrative.

The storytelling, while following a predicted trajectory, takes refuge in the tranquil moments, methodical pacing, and the aesthetically pleasing cinematographic hues that embellish each frame. It's within these quiet instants, amplified by nuanced performances, that the film carves a niche for itself. The subtlety, far from being a shortcoming, becomes its forte, allowing "The Empty Hours" to transcend conventional storytelling and provide a contemplative refuge, making it a subtle yet profound cinematic venture worthy of appreciation.