On his own and happy in the summer in Brooklyn, a young gay student hits the applications to connect the evening, and within minutes, he is met in a neighborhood garden by a passenger bike of food delivery at the end of his Nubian. Finding an invisible angle, they quickly get out of each other, then share more, no Pad Ke Mao On a nearby seat, all before you exchange names. For those who look at passing to sex as a violation of the correct social system, this weak, humid and employee scene in the movie “Noodles” is drunk “will confirm all their biases. But there is also a nice and easy intimacy for it, and understanding the charged relationship that he formulated until an exciting, transient meeting, and this unconscious energy is permeated by this study full of shortness.
In the wake of the ambitious type experience of “After this Death” – which was presented for the first time in just months in Berlinaly – the third feature of Castro returns it to the Woozy region, the sensory in its appearance “End of the Center” for the year 2019. Warm for the warm Argentine director and non -judgment on the Shahabiya, which are loyal origins in which there is still an ageless era even for urban and island cinema. Strand Remining has already received the rights of North America to what could become a strange worship element.
The superior atmosphere and the soft speech of the main actor Laith khalifeh puts the pace of “alcoholic pasta”, many of which reveal his company alone. As Adnan, an art student who spends a summer cat for a wealthy uncle in New York City, it is an equal Sunni and curious matter. Through his mustache in the direction and his clothes that do not have the time of the covenant, it seems part of an urban lover who exercises him completely with a job as a trainer at Williamsburg in a hole-but there is a very concerned naivety for him and that is drawn in other men, of various types, over three values of reverse sequences.
Initially, the initial Trystt of Dendash-Er mentioned, Yariel (Joel ISAAC), is an initial relationship between them that remains a physical nature in the first place. An embarrassing, embarrassing attempt is revealed in the history of the exhibition, where an exhibition of delicious dirty art is displayed: a complex colored and embroidered tissue depicting men in various strong scenes of muscle activity and BDSM roundabout. (We call it Hard-Cottagecore, if you mean.) By intentionally or otherwise, the pieces provide a template for a later group between Adnan and Yarril and a group of her colleagues from the delivery passengers. It is a rude tangle of Jocks, helmets and naked meat that Castro shows as an intense montage that is still, as if it was on the wall of another exhibition somewhere.
We return to the summer in the previous year, where Adnan Sal (neurosurgeon and thesp ezriel kornel), the sixty artist behind textiles, meets while riding a bicycle through a forest in Woods. The immediate, uncommon chemistry between them leads to uncommon sex, before the extraordinary sailor that directed the film, by intentionally, to an explicit magic realism – not for the last time. The next chapter dates back to the schedule only one day or so, and reveals an impressive context of Adnan’s exploratory spirit in the previous two.
The “alcoholic pasta” may mostly focus on the freedoms and separate visits of individual living, but they are also quietly sharp on sweet bonus, imminent and chic restrictions of gay animated Andicom. A completely skilled scene sees two counterattacks with his entertaining partner in a harmful memory of sexual life in childhood: the first secret for many in a sexual life carried with special confrontations, and collected and cultivated by our hero even while following an open and loving relationship. A strange conclusion, and at the same time, makes the issue for full isolation.
Everything feels appropriate and enjoyable in this image in the image of Will-O-THE-WISP: Film industry is not arduous or high, from informal economic slides from Castro editing to the use of DP Barton Cortron for natural light ventilation, deep color, and sweating. Other crew members are doing a double or triple duty, with Yegang Yoo deserved credit for the separate and irregular result and skillful costumes. This range and automatic production style fits Castro, and the interests of the supplication, as an artist – here focused on daily activists and delusions, from the body and mind, as it exists in the forest march, or the completely presented Derrière, or a cartoon in eating food.