Sexo, pudor y lágrimas

Yes. I'll admit it. I believed all the hype surrounding this piece of work, about the trials and tribulations of 6 people, living in Mexico City concerning their sexual lives. And so, I was really expecting to finally see a Mexican movie (in ages) that was both popular and interesting to watch. Unfortunately the film was utterly disappointing. The story presents us with two couples, both with very obvious marital problems. When a third party comes into the life of each couple, their problems reach a pivotal point. Or absolute absurd. The plot then turns into a battle of the sexes. The stance taken by each group (yes, they literally group, girls with girls and boys with boys) is blatantly stupid and childish (I guess the humor was supposed to be there). And it all goes from bad to worse. The performances range from good (Miss Zavaleta) to mediocre (Mr Bichir), with Serrano doing an acceptable job on his opera prima. However, the flat circumstances that make up the plot, the one-dimensional characters, the very poor (if not stupid) perception of what sex represents in a mature relationship etc, make the movie fail. Miserably. SPyL has had an (impressive) good reception at the box-office. Believe the hype at your own risk.

In Mexico, the insecure writer Carlos (Víctor Huggo Martin) and his mate, the photographer Ana (Susana Zabaleta), are in crisis of relationship, and lodge for a period in Carlos' apartment their common friend and ex-lover of Ana, Tomas (Demian Bichir), who was traveling around the world for the last years. On the building in the other side of the street, the unfaithful executive Miguel (Jorge Salinas) and his sterile wife and former model Andrea (Cecilia Suárez) are having a troublesome life, and they lodge the former passion of Miguel, the zoologist Maria (Mónica Dionne). After confusions and misunderstandings, the women move together to Miguel's flat, while the men stay together in Carlos' place, disclosing secrets and beginning a war of sexes, where some of them will be hurt.

What a delightful movie "Sexo, Pudor y Lágrimas" is! Funny, erotic, dramatic, tragic, very well directed, with magnificent lines, gorgeous and sexy actress and good actors, and a cast that shows an excellent chemistry. One year ago, I saw the same story in the Brazilian movie "Sexo, Amor e Traição" (http://www.imdb.com/title/tt0376873/usercomments-3), but in that occasion I did not know this Mexican original story. The Brazilian remake is basically shot frame by frame, with modifications in the genre story (dramatic in the Mexican, romantic in the Brazilian), but I highly recommend this excellent Mexican dramatic comedy, better and better than the Brazilian romantic comedy version. My vote is eight.

Title (Brazil): "Sexo, Pudor e Lágrimas" ("Sex, Shame and Tears")

This movie clearly shows how good the Mexican cinema can be in the hands of innovative directors like Antonio Serrano. The film is based on his own play which deals basically with two couples going through some rough patch in their lives. This dramatic comedy has some light touches when a couple of friends enter the lives of the two couples, as they act as the catalyst, for resolving the differences between them. Only Ana and Carlos seem to have found a middle ground at the end of the film, while Miguel and Andrea will go their different ways.

Carlos and Ana have some serious problems. He can't bring himself to have normal sex life with his young and attractive wife. Miguel, on the other hand, is a womanizer who cheats on the beautiful Andrea every time he has the opportunity. Since both couples know one another socially, and live across the street in apartments at the same level, they end up moving into each other's places when things unravel.

The happy-go-lucky Tomas arrives back in the city from a long trip overseas and Carlos and Ana welcome him into their home. It's obvious he has known Ana more intimately before. At the same time, Maria, a zoologist, friend of Miguel, moves in with them. Things go from bad to worse and Miguel ends up moving in with Carlos, who by that time has been abandoned by Ana, who has gone across the street with the other women. The battle of the sexes begin at this time.

Damian Bichir is one of the best things in the film. As Tomas, he holds the key to understanding the complicated lives all the young people in the film lead. Mr. Serrano got excellent acting from his attractive cast. Monica Dionne, Victor Hugo Martin, Cecilia Suarez, Jorge Salinas and Susan Zabaleta complete the sextet.

Technically, this film has great visual style. It's a sophisticated look at a the upwardly mobile class of the Mexican society. Xavier Perez Grobet gives a magnificent look to the movie. The music by Alek Syntek compliments what we watch on the screen well. Antonio Serrano has to be congratulated for a picture that stands apart from others coming from Mexico by his understanding of the people involved.

The country has strong culture n even has some religion . but they have soo much american style influence. open minded in relationship.

i found this movie is "cheating wife / spouse" category in different sites. including its also in " swinger " category which is ODD.

dont wanna say many things about the movie but... one thing is kinda stupid and dont understand these moderen or so called open minded people about " husband n wife letting other man (non family member) especially best friends or EX to live or stay with them" . why dont people understand its a bad idea or thinking. never ever.

Lots of murder , divorced , broken relationship happens if they do this.

In its context, Sexo, Pudor, y Lagrimas IS groundbreaking... I personally dislike the film, but I recognise its importance; seldom had this dialogue been uttered in Spanish in Mexican screens. Yet it is exactly there that the problem lies, I suppose: while some of the ideas espoused are valid, it would be disingenuous to say they are fresh.

A lot of it has a nagging, self-congratulatory feel, and the blend of philosophical reflection with farce would be better left to a seasoned filmmaker such as Woody Allen. For something that aspires to be so authentic, it feels stilted and irrelevant; it brings nothing new to the table. In hindsight, given the film's ambitions, the execution (poorly written characters, contrived situations, overly obvious--show, not tell, right?--points) seems all too... vulgar.

The salvation: good performances, especially from Cecilia Suarez, who provides some of the few genuine moments in this otherwise pretentious mess.