Bisexuality, Country: Spain, Drama, Year:1999

Segunda piel (1999) aka Second Skin

01/12/2012

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Segunda piel (1999) aka Second Skin

Director: Gerardo Vera
Writers: Ángeles González Sinde, Gerardo Vera
Genre: Drama, Romance
Country: Spain
Language: Spanish wit eng. subtitle
Year: 2000
Duration: 100 min

Stars: Javier Bardem, Jordi Molla and Ariadna Gil

Sinoć sam uživao gledajući ovaj film u kojem glavne uloge imaju Jordi Molla, Ariadna Gili i prelijepi Javier Bardem. Priča koja je toliko realistična da sam na momente pomislio kako je jedan dio mog života prenesen na filmsko platno. Strašno! Mada istini za volju u filmu to izgleda mnogo lakše nego u stvarnosti. Kad ti se čini da gubiš dio sebe i moraš da izabereš između dvije drage osobe, znajući da ćeš jednu zauvjek izgubiti.
U ovom filmu Alberto Garcia mora da izabere između porodice, žene Elene i djeteta i Diega za kojeg je takođe vezan svim srcem. Živeći rastrzan u laži sve mu se počne komplikovati kada Elena posumlja i sazna za njegovu vezu sa Diegom. Alberto pokušava da sačuva porodicu i ostavi Diega , ali nema snage za to! Kako ostaviti nekoga za kim ti srce žudi, koga voliš više negoli samog sebe? Gdje god da pokušaš pobijeći , biježiš od samog sebe.
Potresna priča, životna i vjerujem da nije rijetka.
Scene u kojima je prikazan seks između Alberta i Diega su strastvene, odlično urađene. Za trenutak sam pomislio da je stvarnost. Sa druge strane scene sa ženom nisu ni upola ispunjene željom i emocijama. Tako je to i u stvarnom životu!
Završetak ovog filma mi se ne sviđa. Naprosto ne želim da se tako završi!
Film me je podsjetio na jednu moju vezu sa oženjenim čovjekom. ( Uglavnom je većina mojih veza bila sa oženjenim ljudima – baksuz) Strastvena baš kao i u ovom filmu, a teška do ludila. Ljubomornih maltretiranja je bilo za enciklopediju. Često sam znao poći doma i ijeban i izmlaćen. Kao nekom pederu nije mi to bilo teško fizičkiistrpiti, ali psihički sam tonuo iz dana u dan, sve dok nije puklo.

“Second Skin” is the debut film of Spanish director Geraldo Vera, who has previously worked as a designer in television and movies. To his design sense, we can attribute one of the most attractive opening-credit sequences in recent memory — a black-and-white, negative-image, kaleidoscopic, inside-an-eyeball sequence that eludes description. But “Second Skin” is not a style piece. Its penetrating and humane gaze focuses on the relationships and emotions of three people locked in a love triangle that’s not making any of them happy. The director explores all three sides of his story with a sensitivity and an inquisitiveness reminiscent of Truffaut. Add to that a dose of Spanish fire and a modern filmmaker’s willingness to go graphic with the sex scenes, and this strong film comes into focus. Ariadna Gil plays Elena, who one night makes the mistake of picking up her husband’s dry-cleaning. Along with the clothing comes a bag of items found in her husband’s pockets, including a receipt for a hotel room.

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From that point on, she knows he’s seeing another woman — except she only knows half the story. As the husband, Alberto, Jordi Molla is impressive as a man of basically decent instincts who is so repressed and so used to lying that he hardly knows who he is or what he wants. He loves his wife, he loves his son, and he also loves Diego, a gay orthopedic surgeon played by Javier Bardem (“Before Night Falls”). Alberto has spent his life censoring his words and controlling his impulses to the extent that he never seems truly spontaneous, except in bed. In keeping with the recent trend in European cinema, the sex scenes here are pretty raw; that is, the gay sex. Some discerning cineastes might assert that we really do need to see these guys slamming into each other to know they’re in a relationship.

Even if so, there have been cases of people having sex under the covers. These European filmmakers might give us and their actors a break by letting them try it some time. The sex scene is the film’s one exploitative lapse, a calculated shock in a picture whose loving respect for its characters is plain. Three characters are in hell and there’s nothing to be done. We might wish Alberto had it in him to go ahead and declare his major, but he’s incapable. He’s in love with whichever partner he’s with. Molla doesn’t do the easy thing of courting our indulgence by taking us into Alberto’s pain. Instead he holds us, like his lovers, at arm’s length, so that we, like them, have to wonder whether he’s genuinely tormented or just manipulative and self-indulgent. The gradual penetration of Alberto’s mystery is, in a sense, the picture’s narrative through-line. While Molla has to hold back, his co-stars don’t. Bardem is a great emotional actor, with a face that can seem at once handsome, clownlike, delicate and primitive. He leaves us in no doubt that Alberto is the love of Diego’s life. Diego is not the villain. Neither is the wife, who, as played by Gil, lets us see the wife’s desolation at discovering that she has been sharing her life with a stranger. Also in the cast is Cecelia Roth, a mainstay of Pedro Almodovar’s films, who has a small but choice role as Diego’s business partner — a divorced, middle-aged professional who would have an affair with Diego in a minute, if only he were as confused as Alberto.