Los Novios búlgaros (2003) aka Bulgarian Lovers – repost
Evo uradio sam repost za ovaj film zbog novih linkova i titla na našem jeziku! Postavio sam i trailer.
Prije nekoliko godina sam u Bumpešti upoznao jednog Bugarina sa kojim sam proveo nezaboravno veče , pa me je ovaj film podsjetio na tog ljubavnika za jednu noc’!
Heh u ovom filmu seksipilnog ljubavnika Kyrila glumi Španac Dirtan Biba koji upoznaje uspješnog advokata Daniela te ubrzo završavaju u krevetu ( Scena je prilično popaljiva ).
Sve bi bilo idealno da Kyril nema devojku koja dolazi u Madrid i upoznaje se sa Danielom.
Pristojna komedija za prekratit sat i po vremena!
Director: Eloy de la Iglesia
Writers: Fernando Guillén Cuervo (writer) Antonio Hens (writer)
Release Date: 30 April 2003 (Spain)
Genre: Comedy / Drama / Romance more
Fernando Guillén Cuervo … Daniel
Dritan Biba … Kyril
Pepón Nieto … Gildo
Roger Pera … Lawyer
Anita Sinkovic … Kalina
Fernando Albizu … Mogambo
Roman Luknár … Simeon (as Román Lucknar)
Simón Andreu … Padre de Daniel
Julia Martínez … Daniel’s Mother
Gracia Olayo … Rosita
Emma Penella … Remedios
Aure Sánchez … Bambi
Shai Bercovich … Vladimir
Alberto Lozano … Taxista
Óscar Iniesta … Emil
Also Known As:
Bulgarian Lovers (International: English title) (USA)
Runtime: Germany:101 min (Berlin Film Festival) / USA:101 min
Language: Spanish / Bulgarian / English
For Daniel (Fernando Guillén Cuervo), the pampered middle-aged narrator and protagonist of Eloy de la Iglesia’s “Bulgarian Lovers,” affluence affords a license to be a fool for love. A successful business consultant from an aristocratic family, Daniel, who lives luxuriously in Madrid, belongs to a circle of fluttery gay men who call one another “girl” and chatter endlessly about their latest boyfriends. Their current preoccupation is to prey on impoverished young Bulgarian hunks swarming through Madrid in search of a better life.
This cynical, dry-eyed sex comedy, which opens today in New York, is a European echo of American cult movies like “Scenes From the Class Struggle in Beverly Hills,” in which sex is inextricably bound up with greed and social ambition. On and off throughout the movie, Daniel turns to address the camera with a sly, self-knowing little smile. When he meets and brings home Kyril (Dritan Biba), a 23-year-old Bulgarian stud who makes crude, violent love to him, he is instantly besotted and invites Kyril to live with him.
The movie, adapted from a novel by Eduardo Mendicutti, doesn’t differentiate between love and lust. Long after Kyril has begun exploiting his keeper’s largess, Daniel prostrates himself before the young man and vows, “I’d give my life for you.” Kyril’s blunt response to this manipulative ploy couldn’t be more perfect: “I’d also give your life for me.”
Without becoming preachy or lapsing into fatuous psychological jargon, “Bulgarian Lovers” observes the interplay of sex, power and money with a cool, amused attitude and a fine sense of social detail. A single line in the screenplay, written by the director with Mr. Cuervo, speaks volumes about cultural dislocation: Kyril announces, “Everyone in the world is capitalist these days.” To Kyril, that means only one thing: the opportunity to make a quick buck by hook or crook, including theft and smuggling.
The depth of Daniel’s infatuation leads him to “fix” Kyril’s papers, lend him money, consort with Eastern European mobsters and store a suspicious-looking black bag in his apartment without examining its contents. He even allows Kyril’s beautiful fiancée, Kalina (Anita Sinkovic), to move in and takes the young couple to visit his proper, conservative family. When the lovers marry, Daniel, who is still occasionally having sex with Kyril, pays for the trip and accompanies them to Sofia for the wedding.
“Bulgarian Lovers” is superbly acted, without a trace of coyness and with considerable heat. Seen through Daniel’s eyes, the Eastern Europeans emerge as sexy peasants. The dynamic between Kyril’s animal magnetism and Daniel’s romantic masochism is evoked without a trace of moralism. As the fool for love recklessly aids and abets his live-in stud in drug trafficking and much worse, the weakness of one man’s flesh augurs potentially catastrophic consequences, evoked in a surreal fantasy sequence that echoes “Kiss Me Deadly.” As much as “Bulgarian Lovers” implies the high price of this amorality, it is far too urbane to raise its voice above a murmur of surprise