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Absent (2011) tells the story of Sebastián (Carlos Echevarría), a high school sports coach, and his student Martín (Javier De Pietro), a 16-year-old Argentine boy who harbors deep affection for his teacher. Martín fakes an eye injury during swimming class, giving him the opportunity to get closer to Sebastián. Under the pretext of needing help, Martín manipulates his way into spending the night at Sebastián’s home. What follows is a tense evening, as Martín makes subtle advances, while Sebastián tries to maintain a nurturing but distant approach. Eventually, Sebastián discovers that Martín lied about his circumstances, leading to an explosive confrontation where Sebastián punches Martín in frustration. In the aftermath, Martín tragically falls to his death, leaving Sebastián overwhelmed with guilt and unresolved emotions.
Marco Berger’s Absent is a slow-burning, deeply introspective drama that delves into the complex dynamics of forbidden attraction, power, and guilt. The film’s premise could have easily veered into sensationalism, but Berger masterfully handles the subject with sensitivity and restraint, turning a potentially controversial narrative into a poignant exploration of human emotion.
At the heart of Absent is Martín, a 16-year-old boy grappling with intense feelings of infatuation for his swimming coach, Sebastián. Martín is portrayed as both manipulative and respectful, walking the fine line between innocent yearning and boundary-crossing. His calculated actions, including faking an injury and lying about his whereabouts, allow him to spend the night at Sebastián’s home. This night is the film’s emotional centerpiece, as Martín subtly tests Sebastián’s limits while the coach, though kind and caring, keeps him at a distance.
Carlos Echevarría’s portrayal of Sebastián is remarkable in its nuance. He embodies a man torn between his role as a protector and mentor and his emerging, confused feelings toward Martín. When he learns of Martín’s lies, Sebastián’s reaction is a mixture of anger and fear—fear not of the attraction but of the potential consequences it could have on his life and career. His punch to Martín is driven by this fear, but it also serves as a physical manifestation of his internal conflict.
The tragic conclusion of Martín’s accidental death leaves Sebastián haunted by guilt. In the final scenes, viewers are left to question Sebastián’s true feelings and whether Martín’s death was truly an accident or a suicide prompted by rejection. Berger deliberately leaves these questions unanswered, forcing the audience to grapple with the same ambiguity that plagues Sebastián.
The film’s cinematography, courtesy of Tomás Pérez Silva, perfectly captures the tension and silence that permeate the narrative. The lingering shots, the quiet spaces between characters, and the restrained musical score by Pedro Irusta all contribute to the film’s haunting atmosphere.
What makes Absent stand out is Berger’s ability to handle a difficult subject with grace. The film does not judge its characters; instead, it presents a layered and compassionate portrayal of human attraction, guilt, and the consequences of deceit. Sebastián is neither hero nor villain—he is a man struggling with his own emotions and moral compass. Martín, on the other hand, is portrayed not as a predator but as a young boy exploring the complexities of desire and connection.
Ultimately, Absent is a powerful film that transcends its provocative premise. It is a subtle and emotionally charged examination of love, regret, and the ways in which people navigate societal boundaries and personal desires. Marco Berger’s delicate storytelling and thoughtful direction make Absent a standout piece in the realm of queer cinema and an unforgettable exploration of the gray areas of human relationships.
