This is a beuatiful adaptation of Benjamin Alire Sáenz's book. There will be those who quibble with some of the choices, but considering the sheer challenge of transferring such a successful book, especially an emotional one like this one, onto the screen, this is an excellent take on the novel. It's a slow burn for Max Pelayo to truly come into his own as Ari: this is due to the character's own evolution, all repressed feelings and anger that slowly surface, along with the realization of who he is. It's a joy watching the actor rise to the occasion. Reese Gonzales immediately captures Dante, partially because of the insightful casting but also because Dante is well-defined from the start in the book. The two actors play off each other with great ease.
The director, Aitch Alberto, brings a careful hand to everything in this film, and you feel it. One choice that worked well was making Ari's aunt Ophelia more present. In the novel, she's almost like an idea, but here she's a presence onscreen and a reflection of Ari's own repressed self. That was a wise choice, along with keeping Dante's attack "off-stage" to avoid the sensationalism.
This is a film about two young men who are loners, in extremely different ways, and who simply love each other--almost immediately. By the time Ari comes to terms with himself and what he is feeling, the viewer, like the character, can finally exhale.
The director, Aitch Alberto, brings a careful hand to everything in this film, and you feel it. One choice that worked well was making Ari's aunt Ophelia more present. In the novel, she's almost like an idea, but here she's a presence onscreen and a reflection of Ari's own repressed self. That was a wise choice, along with keeping Dante's attack "off-stage" to avoid the sensationalism.
This is a film about two young men who are loners, in extremely different ways, and who simply love each other--almost immediately. By the time Ari comes to terms with himself and what he is feeling, the viewer, like the character, can finally exhale.