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When an overwrought, angst-ridden, drug addicted filmmaker (Sebastián Silva playing a fictional version of himself) unexpectedly meets a wacky, unhinged comedian/social media influencer (Jordan Firstman playing a fictional version of himself) at a gay Mexican beach resort, the troubled director does all he can to distance himself from his new acquaintance when he becomes interminably annoying, especially in his incessant, unfocused pitches for collaborating on a new movie project. But, when the financially strapped filmmaker returns to his home in Mexico City, he reluctantly relents on the comic's offer when all his other production proposals are turned down by would-be backers. He thus invites his new writing partner to come stay with him while they hammer out the script, but, upon his collaborator's arrival, he finds the director has mysteriously disappeared. What ensues is a humorous gay comedy-mystery in which clues about the disappearance slowly emerge. At the same time, however, the story also delves into some surprisingly mature and insightful themes, developments very much in contrast to the film's screwball narrative and its somewhat manic opening act. Writer-director Silva's latest thus presents viewers with an intriguing combination of plot elements that one might think shouldn't belong in the same picture but that work surprisingly well together. While it's true that the ending seems somewhat abrupt and that some segments run on a little too long (particularly in the first half-hour), with a few others that could have been omitted entirely, the majority of the material nevertheless holds together well, making for an entertaining, if somewhat offbeat, time at the movies. Sensitive viewers are strongly cautioned, however, that the film features numerous scenes with explicit depictions of gay male sexuality, so those who are easily given to offense may wish to pass on this unrated release. Those considerations aside, though, this is a film that's more than it might superficially seem, particularly the further one gets into the story. It's quite an eye-opening ride into a world that many may be unfamiliar with, but it's also one that simultaneously makes us laugh and makes us think - a rare combination to be found in the same picture, to be sure.

Overall, Rotting in the Sun has everything it takes to make a decent thriller. It's pacy, it's good kind of chaotic, well acted by the protagonists and interesting twists and turn.

I get that excessive drugs use from the hedonistic protagonists seems like a 'social commentary' of influencers life, but it ended up being tacky. Haven't you heard, hedonism is no longer cool in this economy ?

Coming into this film i expect a certain degree of nudity, but my goodness, i didn't expect this many flashing of male genitalia and explicit sex scenes that pretty much a 'corn'.

These things felt like it serves as a 'shock value', with purpose to compensate other things that this film lack of, and that is humor. It has nothing to do with the story and i don't see any reason why this is necessary.

I watched this film cause of some rave on tiktok. Maybe it's not the most reliable apps to gets films recommendation.

So this is of course polarizing and yes, Silva does have a tendency to deliberately shock for no dramatic purpose, but this film is carried by his muse Catalina Saavedra who helped him to stardom as "La Nana" (2009) which won Sundance back in the day. Silva then moved to the US and made one terrible film after another, all lacking the ingenious timing of "La Nana", so he has good reasons to be depressed and suicidal. This film is obviously a cleansing ritual of sorts, Silva kills himself to be born again, and while this may seem terribly self-centered, it does provide one of the most neglected actresses a chance to show her vast range.

It's also a rare satire of hedonistic queer life as only Almodóvar did before respectability killed his genius, also in collaboration with muses, most importantly Carmen Maura. It's no coincidence that Saavedra's part has similarities with Maura's in "What have I done to deserve this" (1984). Firstman is pretty gutsy doing a role like this (just imagine, Michael Cera turned it down). He is an Instagramer and this film makes you hate them even more. Most people don't seem to get the allegory of the artist working on film and canvas (which Saavedra destroys in her first scene) being replaced by the digital usurper, although that elevates the film to social criticism.

For me it's a positive surprise as I didn't expect much from it, but the shock value for non-gays makes it niche. To paraphrase a Latino saying, Americans just can't look cocks in the eye(s).

Most folks here just use their own names, so it's easy to follow the characterisations as dysfunctional, ketamine-loving, "Sebastián" (Silva) encounters the drowning "influencer" Jordan Firstman in trouble just off a nudist beach. Rescued and grateful, the doggy-paddler invites his new saviour to hang out with him and his collection of "accommodating" gay groupies. This isn't quite his scene though, especially when his buddy starts posting stuff that "Sebastián" doesn't really want seen. Anyway, Firstman offers him a role working on his new project and decides to move in while they work it through. Silva has a lot to do on this film so he cleverly arranges that with the help of the maid "Vero" (Catalina Saavedra) and a rather ugly looking brown sofa, he manages to write himself out of the rest of this, increasingly mysterious, little drama that for Jordan could now be called "Where's Sebastián?". Now we all know what has happened as we continue to follow the almost farcical consequences as tracks have to be covered and Firstman vacillates between annoyed to concerned to perplexed to... You get the drift. If you like his style of comedy and delivery, then you'll enjoy this rather ripe and quick-fired look at all things media, gay drug-induced and shallow - indeed, there are few stereotypes left unharmed by this - but it's never dull and though the ending is distinctly weak, I thought this was quite a fun film that shies away from nothing - so don't watch if you've an allergy to male genitalia and beach shagging.

The film had a lot going for it, but it also had some glaring issues that were hard to ignore.

First and foremost, I couldn't help but be annoyed by the fact that the movie was filmed in Mexico with no Mexican actors playing Mexican characters. It felt like a missed opportunity to add authenticity to the story, and it was distracting throughout the film.

On the positive side, the characters were a highlight for me. They were well-developed and likable, which made me invest in their journey. The chemistry between the actors was palpable, even if they weren't Mexican, and this added depth to the story.

Speaking of the story, it was refreshingly original and natural. I appreciated the unique narrative and the way it unfolded. The plot kept me engaged, and I was genuinely curious about how it would all play out.

However, my enthusiasm took a hit towards the end. It felt like the filmmakers didn't put as much effort into wrapping up the story as they did in setting it up. The ending felt somewhat lazy and left too many loose ends, which left me somewhat unsatisfied.

In the end, I'd rate this movie a solid 7. Despite its flaws, the original storyline and well-drawn characters made it an enjoyable watch. I just wish the filmmakers had paid more attention to authenticity and a satisfying conclusion.

This is being advertised as a party comedy. It's definitely not. It's an extremely tense and chaotic film, and when there is humor, it's during uncomfortable moments so you're ambivalent about laughing. But it is very effective, and I think it might be profound (i'm still digesting it)

This film seems to examine the contrasts within the gay community between hedonistic abandon and self-hate. It shows these elements living simultaneously and seems to unite what would seem to be incompatible opposites.

Jordan Firstman plays a boisterous, fun-loving social media influencer that can't take anything seriously. Sebastian Silva plays a nihilistic depressive to does drugs not for fun but to feel numb and dead. When Sebastian goes missing, Jordan is forced inside of Sebastian's world where the misery he left behind begins to infect Jordan.

In a sense, both of these characters are initially unlikable in their extremes. You desperately want Sebastian to get out of his head and see the beauty around him, but you're also begging Jordan to stop treating everything like a game, and yet when Jordan slowly but surely starts absorbing Sebastian's dark persona you feel awful about it. This film is definitely a smorgasbord of mixed feelings.

But the most powerful weapon this film has is Catalina Saavedra's performance as Vera, an employee of Sebastian's landlord, who is living with terrible trauma, guilt and fear. Her acting reaches right into your guts and rips them apart. Powerful stuff.

Yet it's the metaphorical implications of this film that truly eat away at you once the film ends. You can't let go of these very real feeling people, who are all different, who are all chaotic, and all wind up in the same mess. Along with examinations of the gay community, it textures that with other kinds of culture clashes. Cultures within cultures within cultures. All falling into one dark hole of a mystery at once.

I'll say 9/10 for now, but depending how I feel when I wake up tomorrow, it might be a perfect 10.

I'm gonna be chewing on this one for a while. I'm writing this review to help me digest it. It's that kind of film. Heavy.

Whether or not this film is for you I can't say, but I can definitely warn that it is not a comedy. It is a dark and disturbing film that plays with your emotions and leaves you feeling messed up. But if you can appreciate that sort of thing, then this film is excellent.

Wasn't expecting a few unexpected twists and the fast sudden change of leads within a movie with 2 protagonists. Impressive. This has a genuine feel of reality and it follows a very logical route of story telling. And that's exactly how the guilty character would behave with anyone caught in that dire predicament. The female helper was truly superb in her performance giving so many conflicting and disturbing vibes of what exactly is she in character essence. She can seem naive and somewhat intellectually slow, yet her instinctive prodding for an accomplice to erase her reckless misdeed betrays her darker nature. Again, the ending was another unexpected twist from her yet unpredictable surrender of truth when she could have had simply fade into oblivion. Great show.

I am sure there is no audience who has not been surprised after watching this film. The director is very bold and the R-rated images fill the whole film. The hand-held camera and the absence of filters have greatly restored the life of Mexican life. The words such as decadence, pain, eroticism, depression, disorientation, and numbness are used throughout the film. And, just when you think this is this film about the character growth of an unknown director, it's not. You can't imagine where the director will stretch the story in the next second, and it's a very, very absurd satire of reality that completely misses the direction of the plot and the trajectory of the characters' behaviour. The film is about an unknown director who is pushed to the edge of his life and falls to his death in an accident. The maid who witnesses and participates in the accident decides to hide the truth of the accident and creates a false impression to deceive the people around him, but in the end, she can't bear the burden of her own spirit so that she confesses to her own crime and gets her own redemption.

The movie shifts from a no-holds-barred sex comedy to a crime drama, drawing out the dangers and existential crises of the proliferation of social media while shifting the focus to the grim issue of class level, the inability of the middle class and the working class to understand each other. Some people seek it, some people hide it, you search desperately for the truth, and in the end no one cares about the truth. Obviously, even without the maid's final confession, the audience won't blame the maid for falsifying evidence and confusing the public, and when the plea 'Sir, please don't fire me' happens, everyone will know that the story won't be the same as the one that started with 'gay equality'. 'love redemption', more, we go back to think about "why the police have no confidence in taking the maid's testimony" 'why the maid's emergency behaviour is justified. 'and why the unseen people, those of lower status, our elders, are unable to make more rational decisions.

In the end, it's not just the corpse in the sun that rots, it's the society that is riddled with holes.

... and that was the masterful performance by Catalina Saavedra, playing Señora Vero. She had a lot to work with inside this plot, and was the absolute best part of the film.

People are calling this a film with two protagonists. And yes, I suppose that strictly speaking, that's true. There is a switch in viewpoints about forty minutes in, and that's when the film takes a turn that it never recovers from. The protagonist after that point is superficial, annoying in the extreme, and exactly like you'd expect a "social influencer" to be. I suppose in that way, he is successful in the role. But, to turn the whole film over to this guy makes the viewing experience trying. I get satire, I didn't get this.

The plot was good for what it was. I only wish that there were better people put in front of the camera to play it out. I can't in good conscience recommend this, but if you must, it IS worth it for Catalina Saavedra's performance. The 5-star is for that and most of the background actors.

"Rotting in the Sun" is a surprising and irreverent film that plunges viewers into a narrative reminiscent of a "gay and twisted brother of Parasite (2019)." It's regrettable that major studios were afraid to distribute it. It delves into sensitive themes, portraying the life of a drug-addicted, homosexual actor/painter and their complex relationships, shedding light on a depressive environment.

The film doesn't shy away from critiquing social media dependence, digital influencers, volatile relationships, generational differences, and class distinctions. A surprising plot twist keeps the audience engaged, and the movie excels at character development and humanizing its cast.

With metalinguistic elements, "Rotting in the Sun" criticizes the film industry, exposing its flaws and distorted priorities. Impressive performances by Jordan Firstman, Sebastián Silva, and especially Catalina Saavedra leave a lasting impact, with Saavedra's portrayal being particularly powerful... And funny, sometimes.

The film's unconventional approach offers a unique experience, breaking away from predictable formulas and delivering memorable moments. However, it includes explicit nudity and graphic sexual content, which might not be suitable for all audiences. Some viewers may also find the plot twist abrupt, leading the narrative in a different direction.

One of the worst 'films' ever made. It features unsimulated footage of the director beating his dog, along with actual sex and drug taking. Nothing else happens except abusive narcissists repeating the same bland dialogue and watching dull TikToks. That's the entire thing. Mubi has lost a lot of credibility by releasing this mess.

Every critical review of this film has been dismissed by its strange devotees as homophobia. This is a nonsensical response, since the criticism has to do with lack of quality, not the sexuality of the characters. Not only this, but the film's depiction of gay life is itself incredibly homophobic and derogatory.

ROTTING IN THE SUN appears to be everything that I despise about the film industry: self-indulgent, self-pitying, self-destructive protagonist will team up with an annoying "influencer" whose description summarizes everything awful. But it ain't like that.

Sebastián Silva's movies are always deceptively great. He has a line on frauds, grafters, and grifters, and he is not afraid to get his hands dirty. In this film, he plays an insufferable version of himself (he went there slightly in NASTY BABY too) who spends more time googling about the newest chemical to take himself out while under the fog of ketamine than he does working to advance his career as an overpaid artist. This inevitably leads him to what could have been one of the most despicable characters in the social network...Jordan Firstman! (Also playing a more miserable version of himself.)

What happens is what makes this movie one of the greatest films in recent history, let alone Silva's best movie. I will not provide more information because it will detract from the magic but, let's just say, this is a misanthrope's dream come true.

I have rewatched ROTTING IN THE SUN, and it continues to wear well. And Silva is quickly becoming one of my favorite living auteurs.

Starving artist Sebas, seeing his woes intensified by social media, sinks further into depression. Thriving influencer Jordan rides a wave that only a vast but supremely shallow online presence could bring.

These men are two sides of the same coin. When their relationship builds, things take a turn for the interesting.

The movie includes modern tropes but modernity is not the point. There are classic dichotomies in the forefront. Is what you want the thing you need? Is the artist an artist if they don't perform? What is the performer without the artist? Where is the line between brutal imposition and destructive passivity?

Loved it!

This was such utter rubbish I had to fast forward much of it. I don't mind "unconventional" films at all, but this was just so uninteresting and over the top that it veered into being unwatchable.

To me the film just seemed like it wanted to shock. The sex scenes were unsexy and grafted on. Really, what were they there for? They didn't advance the plot. It was just for titillation.

Annoyingly, subtitles were only provided in English for the Spanish-language parts. This meant I had to switch on the French subs. Fortunately I'm fluent in French, but I'd have preferred English all the way through.

I didn't find the film upbeat or "zany" at all. It was simply a mess that had no meaning. Really, this is not worth the time.

I just loved watching this movie. Hard to watch in some parts but overall this is a modern age art film at his best.

It was such an interesting idea from the director to come out with this story. It's like a moodboard of the queer community but also about the difference between being a local or a visitor in a foreign country.

I wasn't expecting the twist through not even halfway the movie. The character of Vero is silly but also brilliant. Jordan is just being Jordan and we just love to watch. Like he said, he's a happy clown!

Between all the shots on the dicks, the Hitchcock mystery or the drugs use, this movie was very original and it just shows that you don't need alot of budget or material to make a movie that will catch your attention and made you think after.

It is also refreshing to watch a queer movie that is not about finding your identity or about love.

We need more projects between Sebastian and Jordan!!

Without giving too much away, this film took an unexpected turn halfway through and so it's almost like it becomes it's own sequel. There was a Hitchhockian angle to the way the film changes pace, and it became almost stressful to watch at times. I enjoyed the disoriented feel, a kind of metaverse vibe to it. It's really daring in the best possible way. Also offers a lot of social commentary on the poverty divide in Mexico, with the complete ignorance of the rich to how the poor live and the physical division of neighbourhoods. Of course it's also full of cocks so just a warning if you are easily offended by male nudity, this one is not for you.

I've seen A LOT of indy gay films at film festivals and elsewhere. This film mixes a self-absorbed gay "influencer" with a more serious indy artist having more serious life issues. The contrast between the very real but superficial issues of the influencer and the very real and very serious issues of the indy artist never become stale or boring. The acting throughout the film is EXCELLENT. Jordon Firstman has to be the most self aware gossamer thin gay personalities today. He is always sexy, funny, and captivating to watch. Maybe a better film historian than me can come up with something remotely similar to this film, but I find it totally original, fresh, and captivating. If you get a chance to see it, give it a try.

I'm not sure why in Australia this doesn't have the warning that it's dealing with suicide. The struggling artist is actively looking how to end his life (and found a way how to do it painlessly.... Even tho that he didn't do it, but I won't go into details). I would not take anyone who has mental health issues to watch this. As for the movie it was not bad....yes it has graphic sex scenes but they are not erotic and in my view they are part of the story. Story line is pretty simple. Ull forget about the movie once the closing credits are finished. I'm glad I watched it alone and not with someone who has mental illness.

This movie was a real surprise. I guess you could call it a dark comedy, it sure is at many times hilarious. But there's also a serious side, concerning loneliness and drug addiction, and some social satire. Its atmosphere reminded me very much of the Pedro Almodovar films of the 80's.

First we follow Sebastián, a tired, exasperated wannabe art maker, who by chance meets his total opposite: party-animal and über-active TikTok influencer Jordan, who asks him to join forces in some future project. It's absolutely hilarious to see how poor Sebastian gets more or less overwhelmed by Jordan's unbridled enthusiasm.

And then the focus of the story suddenly (for reasons that I won't give away) changes to mrs. Vero, Sebastian's cleaning lady, who against her will becomes the pivot in a mystery, and while desperately trying to save her own skin, in fact gets herself more and more in trouble. The dialogues are sharp and witty, and the acting of all three main characters is excellent, with special mention of Catalina Saavedra as Vero, she's absolutely great!

By the way: be warned that there's a fair amount of very graphic and in your face male nudity and gay sex. Maybe that wasn't really necessary, but somehow it also fitted the bizar story, and (being gay myself) I probably am somewhat biassed in not minding it.

At the end of the film it seemed as if the writers didn't know what conclusion would turn out the best, and just decided to let the truth be blurted out - but even so in yet another hilarious way: a total language confusion thanks to the Google translate service on Jordan's iPhone! Oh, and last but not least: thumbs up for the great art design of the closing credits!

This movie is just bad, and I could tell that from the beginning.

Too much time spent on basically nothing, like what is going on? Hard to understand until finally after what seems like forever, you understand the plot, which is just boring and not interesting.

Then finally the scene of the accident and the movie just turned even more boring and depressing.

It makes me think like was this supposed to be a comedy, drama, or a thriller? Cause I could not sense any of those genres.

I'm talking from experience that when the movie has the same director and writer it turns out to be bad. When a movie has the same director, writer, and actor, it's even worse. This movie proves my point exactly. Bad bad bad.