AshUnow
This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.
Brendon Jones
It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.
Neive Bellamy
Excellent and certainly provocative... If nothing else, the film is a real conversation starter.
marcdowning
Among other things I would like to why is this film titled "Hawaii"???
wiamillior
This is one of those films that shouldn't be categorized as a ''gay love'' film. And usually, being categorized is the main reason why the movie was so underminded, by some of the people from the lgbt community who likes to see movies that focus more on human's sexuality and/or sexual/eroticism. Because the movie was being categorized, not many people and/or critics outside of the lgbt community, cares enough to even bother to give this movie a watch. Because this movie is truly beautiful. Remember what I said before ? This movie didn't necessarily focus on sexuality. Yeah it had a few *eye catching* moments here and there, but only to highlight the realistic and ordinary - the life of the two main protagonists, Martin and Eugenio. Yes, this movie focused more on the two characters; their development and history. The further the story lines goes, the more contrary it becomes with the movie's slow paced. Not only the story line being highlighted, but also the out-look and the music in this movie deserves a notice. Scenes with literature meanings, gets you to actually think, not just stare. The music sounds like a silent orchestra, gives you this nostalgic feels, the get-away and the returning to home, adds to the theme of this film. The two things created such hollow and vague atmosphere, that your mind will be lost in it. As for the dialogue, it was also something that feels very close to home. It's intimate, sometimes a little awkward, bringing this movie to life. And each character's dialogue truly highlights their personality *watch to see*, showing the contradiction between the two characters, but only to develop into something touching, sweat and adorable.
euroGary
Young(ish) writer Eugenio returns to his childhood home in a small Argentine town. At the same time, another of the town's prodigal sons also comes home: Martín, searching unsuccessfully for a long-lost relative. Homeless and short of funds, Martín starts doing odd-jobs around town and eventually knocks on Eugenio's door, looking for work. It transpires the pair knew each other as children and it isn't long before they are reliving happy childhood memories such as, er, stoning a cat to death. But Eugenio is homosexual and through his actions (spying on Martín in the bathroom; buying him clothes) it is clear he's hoping for more from the relationship than animal abuse. What will Martín's reaction be?I could have done with director Marco Berger pulling back the camera at times; he loves the close-up so much that we never get an idea of how big are the house and grounds that much of the action takes place in because we never see so much as a single wall in full shot (this also means that in the few, mostly out-of-focus, incidences of nudity it's impossible to tell whether the viewer is seeing actors Manuel Vignau and Mateo Chiarino or uncredited body doubles). And the amount of shots that seem centred on Messrs Vignau and Chiarino's crotches is bordering on embarrassing. But the two leads do a nice job of portraying a growing relationship that seems based mainly on friendship rather than repressed desire; indeed (MAJOR SPOILER ALERT!) I'm rather glad we didn't see them consummate their relationship; somehow, that would have spoiled things.
rlculpepper
Marco Berger's Spanish language Hawaii is small with a simple story made into something more than the narrative. Boy meets boy, boy becomes attracted to boy but doesn't know what to do about it, there's a history; what's going to happen?) Berger uses long scenes of pause on scenery, character's processing, and body framing that evokes erotic tension, to evolve the story into an unfolding emotional journey. He's talented at using all the elements of film; character posturing, shot framing, scenery, music and dialogue to that result. The sparse dialogue incites and exhibits complication in human behavior rather than define everything. (Except a scene I thought was clumsy between Eugenio and a visiting relative where the dialogue makes perfectly clear the situation.) I read that disparity in character vocabulary is used to manifest class difference, which was lost in translation on me (subtitles ;-). Class or status is a component of the character's stories but I missed it as a struggle between them aside from Martin's shame of his situation. Intentional or not, Berger's themes are fodder for porn fantasy. However, he engages them as real world, contemplative journeys of discovery, though certainly sexually charged. Berger's use of eroticism is a bit obvious in this. Perhaps because I've seen his moves before, they stand out as a bit contrived. Berger might just be f****ng with you in using setups he's probably seen in porn and turning them into something else, he's a tease. I didn't get a powerful sense of chemistry between the leads. The guys are handsome real world types. Manuel Vignau gives Eugenio purpose and inner workings that make the character interesting. He radiates charm and warmth in simple shrugs and smiles. Mateo Chiarino's charming too. His angelic good looks and almost wide eyed innocence are engaging. He's good as the down on his luck Martin but he doesn't match Vignau's abilities so he's out classed in many scenes. Maybe intentional, but it made question any attraction beyond the physical. I suspect Marco Berger will be doing "bigger" things soon. I applaud him telling these small stories that he wants to tell. If you haven't seen his other films, you should. For me he's played out this toy box. But that said, I hope that he continues using his beautiful voice to tell stories of this genre.
