![]() ![]() This requires bike rides through the graveyards, alleys, and residential areas of Santiago, notably the Puente Cal y Canto area, site of a bridge built in the sixteenth century, destroyed in 1888, now a subway stop. His architecture firm assigns him the task of presenting an innovative design. But why is Bruno sleeping in the dusty back room of his grandfather’s furniture shop? He and Soledad have separated, although they have come to an agreement about visiting rights. With a couple of swift establishing shots and sparse dialogue, Marcone posits Bruno (Celhay) as a guy so rooted in privilege that no one even questions his misbehaving curly blond locks: new car, pretty and aptly named wife Soledad (Daniela Ramirez), kid (Matías Torres). Better, his camera eroticizes Santiago as much as it does the young men. For a while though director Claudio Marcone gets a good thing going between Emilio Edwards and Francisco Celhay. A decision to sideline its gay co-lead so that the hero can brood with the wife, herself a peripheral figure, baffled me. In the Grayscale ( En la gama de los grises), a Chilean film debuting at the Miami International Film Festival, succumbs. These films tend to be as serious as prostate cancer. En la gama de los grises movie#Brokeback Mountain was the most polished and deluxe version to date of a crippling gay movie trope: a casual, bantering relationship between the gay man and a putative straight pal turns sexual, then romantic heartache ensues. ![]()
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