Mil nubes

I nearly fell asleep during a screening of this. Of a boring story that seems to go on forever, it follows several days in the life of a male prostitute who falls in love with one of his tricks. After a heated affair, the trick leaves a long letter explaining why they cannot be together and how they must go on their separate ways.

The male prostitute then goes on a downward self-destructive spiral trying to find his "one true love", repeatedly returning to the same places they frequented, looking for more clues or signs as to where he may locate his love.

In the meanwhile, he hooks up with one ugly guy (who I thought was also a male prostitute), a gay basher, and some guy who ends up having a "three-second sexual intercourse session" with him in a back alley.

It never ceases to amaze me how films STILL portray random sex acts as scenes that can take place in a brief matter of seconds, such as in this case where the trick barely has his pants unbuckled before thrusting three times and miraculously experiencing orgasm!

All of these random encounters end with the sexual partner asking him to call them, to which he discards their telephone numbers.

There is a brief side-plot involving the main character visiting his busy mother who seems to have no time for his lifestyle. There is also another brief side-plot involving some random conversation with a young woman who has noticed him several times standing on the bridge from her window. And there is also one more brief side-plot involving him showing the letter to a male acquaintance, but the audience is not advised of his relation to this person.

None of these things really connect with each other, only to show us how lost and confused this young man really is. He seems to be living life like a ghost. There was one good scene in the entire movie that involved him rummaging through a yard sale looking for a particular record with the world's saddest song on it.

Otherwise, this movie just seems to go on forever. Filmed in black and white, it may seem very dreamlike, but sitting in the theater for nearly two hours watching this drivel will resemble something more like a nightmare!

I found the ending to be confusing as I wasn't quite sure whether the young man had died and gone to heaven? That would have been a nice pay off to end the misery that both audience and the main character had to endure in this meaningless tripe. But seeing as this is an "independent film", movies with endings like these are supposed to encourage you to "use your imagination".

For those of you who are seeking out nudity, there are only brief scenes and most of them are filmed in such a way that anything suggestive are artfully concealed within the shadows. In other words, don't waste your time with this one.

My Rating - 2 out of 10

Almost immediately after to have gained the Teddy in Berlin arrives to Mexico this film with this so long title. The director (Hernandez) who admires the Italian neorealism cinema, and in special of Pasolini (the title is the two last lines of a poem of him), and gay declared, tries to count a history of glorious love in black and white. History turns around a boy treating to understand the letter that left its lover him. The result a film with some technical faults but that yes close one: the use of different lenses, planes sequences, with few but poetic dialogs, and same the black and white one obtain that the spectator follows the fates of the protagonist. It is possible to clarify that if you have the prejudice of which here the homosexual is promiscuous you are going it to strengthen.

"A Thousand Clouds of Peace" is a low budget Mexican oddity, filmed in grainy black-and-white, that has the look and feel of an "art film" stamped all over it. It is a largely nonverbal tale of a 17-year old named Gerardo who, having just been dumped by his boyfriend, now spends his days and nights wandering around the city in a desultory daze, trying to come to terms with his loneliness and despair.

"A Thousand Clouds of Peace" is definitely an acquired taste, but a person who opens himself up to the beauty of its images and the pervasiveness of its mood may find himself intrigued - if not exactly mesmerized - by the experience. The film consists mainly of Gerardo staring soulfully either into the distance or directly into the camera, but Juan Carlos Ortuno creates such a brooding presence that we actually find ourselves touched by the universality of his character's plight. By providing little in the way of drama, dialogue and character interaction, writer/director Julian Hernandez gives the film the simplified form of a parable, turning it into a study of heartbreak and unrequited love, but one stripped of all the usual distractions and clutter.

Dreamlike in its imagery and pacing, "A Thousand Clouds of Peace" will remind you of any number of European art films from the 1960's. Take that as either a recommendation or a warning, depending on your own personal taste.

Wow! Is Mexican film making coming along! Mil Nubes de Paz is one of the most interesting and enjoyable "arthouse style" films I've seen in a long time. The black & white cinematography is perfect, reminiscent of classic 1930's Hollywood films. The facial closeup shots and facial expressions reminiscent of Ingmar Bergman and early Pedro Almodovar.

Mil Nubes de Paz is a stark film about a gay young man looking for love on the streets of Mexico City. It is beautifully told, the flow of imagery at least as important as the dialog in telling the story. I watched on the DVD release from Strand Releasing, with digital transfer approved by the Director. Highly recommended!

'Mil nubes de paz cercan el cielo, amor, jamas acabaras de ser amor', the Spanish title (extracted from a poem by Pasolini) of this little film from Mexico, is translated for the English language audience as 'A Thousand Clouds of Peace'. Writer/director Julian Hernandez seems to emulate Pasolini's films but has yet to reach the subtle artistry of the Italian master's genre. The film is shot in black and white, uses very little dialogue, and stresses the use of the camera (often at odds with the flow of the storyline) in presenting what appears to be a reflection on the pain of losing love.

Gerardo (Juan Carlos Ortuno) is a 17-year old lad who has apparently just been jilted by his lover Bruno (Juan Carlos Torres) who ended the only affair of Gerardo's life with a letter that plunges Gerardo into despair. Gerardo walks the streets of Mexico City, looking for signs of his lost love, pining away on a bridge, pausing to find the soundtrack recording of an old shared film, attempting unsuccessfully to kindle romance with the occasional hustler and at times meeting with physical abuse. When he is not wandering in his sadness he stays in his room yearning for what is lost and confining his needs to his solo physical dreams. He encounters old friends, both male and female, but there is no real antidote for the loss he is experiencing. And like so many tragic love stories, this one has no happy ending.

Hernandez gives evidence of a potentially potent filmmaker: certainly his subject matter and his frankness of showing frontal nudity and some frankness of contact demonstrate that he is a brave writer and director. Juan Carlos Ortuna is an inexperienced actor, but with Hernandez' guidance he manages to make us feel his plight, trust his genuine grief, and in general make us hope he finds resolution. And to accomplish that with almost no dialogue, relying only on facial and physical shots, shows promise. In Spanish with English subtitles. Grady Harp