Absent (2011)

I don't know what's worst: the casting, the acting or the pointless story.I have watched Marco Berger's Hawaii, his two short stories and Plan B. In that order, so I have watched enough to know that in his works there are always obligatory shots of men's crutches and long quiet scenes...it works in everyone but "The clock" (his first work). So I knew this one was going to have that but I was not expecting terrible actors with no chemistry whatsoever and that includes the secondary actors (terrible teachers) and the insufferable girlfriend. Am I suppose to think the couple love each other? There is no real connection between the actors. And don't get me start about Martin. Am I suppose to root for this lying manipulative tool? Because I don't care about him and his terrible lessons about butterflies (that was painful to watch). I guess the moral of the story is indulge yourself and give the teenage psycho what he wants instead of acting like an adult...what was Sebastian supposed to be sorry for? The only stupid thing he did was being stupid enough not to see that kid was (poorly) lying all along.

1. Quiet: This is one of the quietest gay theme I've seen so far. Two lead actors, Carlos Echevarría and Javier De Pietro pretty well fit it. But, their feeling and character delivered well by good acting, cinematography, and of course music.2. Love: Interesting that director and also writer (Marco Berger) share point of view about love between adult and teenager, son and father, underling and boss, employee and director, student and teacher. There is always a gap between that two degrees. Marco Berger choose to combine that two degrees by growing love between student and his sport teacher. I guess everyone ever had some crush to their teacher but the tricky point, not everyone, just a few who dared taking chances step the line and take actions to get to know their teacher in very close way. The extreme part, to make love with their teacher. There are differences between crush and love. But, what I see in this film more than just crush. I guess Martín already know his teacher Sebastián far from just become his sport teacher. That's why he was taking chances to get to know his teacher closely by lying.3. The Truth: Being lying there are always consequences. The fact that Sebastián was straight and he sense something "wrong" with Martín, he made some wall to keep him stay away from Martín. The truth end up tragic. Sebastián loose control and beat Martín because he cannot accept that facts that Martín lying to him and abuse his trust and kindness. Martín fall apart but hold himself to keep it up and prevent Sebastián being fired from school. 4. Forgiveness: I think there is no connection between Martín accident to his "break up" with Sebastián. Just a big coincidence. A very big coincidence. Sometimes, accident happen, but death is always the worst part. Sebastián turn to fall apart. Martín absence was killing him form inside. He take some of it as his fault. He break school's swimming pool window and drinking. His mind trying to cope that situation by imaginary of Martín still alive. He was sorry and Martín just smile. It was enough for him.Addition, I don't think that event turn Sebastián become gay. After all, he is trying not be ignorance man anymore.

Argentinean writer/director Marco Berger has created one of the more subtle, quiet, and genuine examinations of infatuation and love on film. He enters the realm of forbidden fruit - 'pedophilia' - reverses the roles, and in doing so shares with his viewers the psychology of human attraction and the manner in which society views, condemns, copes, or embraces the overall spectrum of love. This is a deeply touching eloquent film that places Berger in the echelon of the best of sensitive filmmakers. It is an incredibly sexy drama of repressed passion, guilt and regret.Martin (Javier De Pietro), a 16-year-old Argentine student, is exploring the reactions of his swimming coach, Sebastián (Carlos Echevarría), while vying for his love and affection. One day he fakes of an eye injury in the class, and Sebastian takes him to the hospital. Martin has already planned in his mind a web of lies for why he cannot go back home and finally succeeds in getting an invitation from Sebastian to sleep at his house. It s a night of quiet tension: Martin longs for physical contact with Sebastián while Sebastián keeps him off at a distance, but at the same time is very kind and nurturing. Martin is considerate and respectful, and although he manipulates situations in an attempt to get closer to Sebastián, he never threatens, never behaves any more irresponsibly than any teenage boy would and a lot more responsibly than most. Martin continues to inch further and further towards crossing the line. Sebastian the next day finds out that Martin's parents were looking for him all night. He also finds a note in his car from Martin apologizing for telling him the lies. When Sebastian confronts him, he very openly tells him that he was hoping something would happen between them that night. This infuriates Sebastian and he hits Martin. Afterwards things are not same. Now Sebastian is having weird feelings and he cannot even concentrate on his girlfriend. He keeps thinking of Martin. Martin meanwhile stops coming to swimming class and is spending more time with his friends. Sebastian must deal with his emotions. He recalls how maybe on some occasions he might have possibly given the boy some hints and starts questioning his own feelings for the boy. Guilt struck, he is now hoping that somehow Martin will forgive him for what he did. The closing scene is profoundly moving. The film has little dialogue, a lot of silence described by the impeccable cinematography of Tomas Perez Silva and enhanced by the musical score by Pedro Irusta. One of the reasons the film works so well is the fine acting by Carlos Echevarria and Javier De Pietro along with a supporting cast in small but character defining roles. But the major reason for the film's success is Marco Berger's intelligent, sensitive, and brave decision to make a film about a subject that could have been taboo and instead turn it in to a universal examination of the many permutations of love.Grady Harp

.....Latest Work by Director Marco Berger is so very much the opposite (well, perhaps there's a "tinge" of romantic love). Instead, we're being given: A Crush-love...almost a Stalkerish-love.In a comparison of the two movies, "Absent" is the more accomplished production....both in camera work and locations-wise. And as in the earlier film, here the Co-leads and supporting actors also cannot be faulted. Javier De Pietro, as Gay-aware, swim team student Martin Blanco, delivers an admirable first film performance as a mid-teens young man, who is "crushing" on his team coach. Martin has a "Plan" (but...unlike in Director Berger's preceding film, no alternative, Plan B has even been thought of). Single-minded and intensely focused, our Martin has set his sights on placing himself in his team coach's very own bed. Next up, as our unsuspecting object of affection (I mean, obsession), we have the attractive, student-oriented Coach Sebastian Armas (Carlos Echevarria, an experienced actor of some 12 films). This film star ably paints a picture for us of a serious and never smiling, heterosexual(?) man, who is much concerned for those under his charge.....and possessing no(?) interest in the Gay lifestyle.GENERAL OBSERVATIONS:The opening-credits camera shots, and especially the soundtrack, seem meant to be ominous in nature and apparently have been structured to forewarn where this film is heading. They consist of lingering, closeup angles of young Martin's striking and sexily hairy body. All this in the guise of a sports program physical exam (oh, of course). Continuing this fascination with Martin's body....later on, after our young trainee has manipulated his way into his coach's home, various intentionally provocative poses of Martin, in near undress, are provided by our Director....culminating in an early morning, "touchy-feely" visit to Sebastian's bed, as he lies sleeping.We are given long, sometimes static, film minutes (more than one-tenth film's running time) spent in an automobile front seat. Our Co-leads driving from place to place, as required by the storyline. These are uncomfortable (yet probably realistic) times spent together...with little dialog. Similarly, there are MANY other coach/trainee interactions where one might expect easy chatter/conversation. BUT such does not occur...and that is not what I would expect to happen between a dedicated coach and those he is mentoring (perhaps such is not the case in countries outside the U.S.).Young Martin appears not to interact with swimteam mates in a normal, youthful, fun manner...and is shown to roam pool changing rooms, in the hopes of seeing other young men in stages of undress.After unsuccessful attempts to get closer to Sebastian during that night spent at the Coach's home, and perhaps ashamed of his actions, Martin quickly owns up. He does so in a note left for Sebastian, reading that he had contrived the overnight stay (BUT he does not specifically spell out what his aim had been). From that point on, Martin begins distancing himself, even missing training sessions. Then occurs an uncomfortable scene in which Coach and his girlfriend (yes, he has one) take seats in a cinema, unaware that Martin and a young female acquaintance are already seated there. One seat separating the 2 men, (as the Director has planned for), we suspensefully wait for awareness of each other to hit the fan.Somewhat later, their relationship climaxes (yes, I use that word) in a face to face confrontation: Martin openly admits to his plan for a "hoped-for seduction". ....And Sebastian, realizing the untenable position in which he had been placed, directs a blow to Martin's face, and angry words are exchanged.Shortly thereafter, Tragedy Strikes. We will never know this film's "What Might Have Been". Perhaps even Director Marco Berger cannot know. BUT....in the story's closing 20 minutes, we find ourselves being carried along, within Sebastian's innermost mind, seeing him live each day--though he is acting as in a near-trance. Then, startlingly, we begin experiencing "What Might Have Been" memories of past times spent with Martin (but happening as Sebastian wishes they "might" have occurred). Closing shots take place with the Coach revisiting the darkened and ghostly poolhouse. Then follows a final scene of our Co-leads (yes, both) seeking and finding one another in the semi-darkness: ....a Sweet Kiss....an Admission of Regret....a Request for Forgiveness. And we see, for the very first time in this unhappy film, a tender smile appear on the face of Sebastian.PS--Oh, face it....I want Romance! (M. B. does it so well)****