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Juan Pablo Cestero | Ezequiel | |
Lautaro Rodriguez | Mono | |
Patricio Rodríguez | Juan Ignacio | |
Juan Barberini | Chino | |
Luis Margani | Abuelo de Juan Ignacio | |
Antonia De Michelis | Abuela de Juan Ignacio | |
Tomás Agüero | Cutu | |
Cecilia Cósero | Madre de Ezequiel | |
Luciano Suardi | Padre de Ezequiel | |
Malena Irusta | Hermana de Ezequiel | |
Felipe Gonzalez Otaño | Martin | |
Franco Marani | Sergio | |
Germán Frías | Dario | |
Denis Corat | Profesor de Taekwondo | |
Carmela Sandberg | Profesora | |
Juan Ignacio Farías | Vecino | |
Gala Núñez | Amiga de Juan Ignacio | |
Agustín Bel | Alumno | |
Carolina Erlich | Médica | |
Juan Pablo Tunesi | Profesor de educación fisica | |
Damián Borda | Hombre del sueño |
Director/Choreographer |
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Producer |
Daniel Chocron
Alberto Masliah |
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Writer/Composer |
Marco Berger
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Cinematography |
Mariano De Rosa
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Music |
Pedro Irusta
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Ezequiel, a sixteen-year-old gay teenager in his sexual awakening, meets a boy of twenty-one. They quickly start a relationship and the situation unravels unexpectedly. |
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SPOILER ALERT. I usually studiously avoid spoiler in my published notes. But this film concludes with a cliché denouement -- suicide. It need not have been a happy ending, a least as it relates to this particular narrative, but suicide is a cheap trick, often used in early gay literary expressions. Walker-Dack [QueerGuru] says that "The ending thankfully puts us back on track." He's wrong. It certainly does not! We've come much to far in our liberation journey to see suicide as freedom.