Bulgarian Lovers

Bulgarian Lovers (Los Novios Bulgaros)

(2003)

Directed by: Eloy de la Iglesia
Writer: Eduardo Mendicutti
Genre: Comedy

Synopsis:

There is something really seedy and despicable about the way people manipulate each other in Bulgarian Lovers, the new film by Eloy de la Iglesia, who has a penchant for shocking viewers. He disappeared for a while due to personal problems, but returns with the adaptation of Eduardo Mendicutti's novel. Bulgarian Lovers is difficult to watch both because of a strong desire to strangle the lead characters and because of problematic plotting. The former is supposed to evoke strong emotions, the latter is an unintentional result. So this film has the odd distinction of annoying people, both because it wants to and because at times it's not much of a movie.

Daniel (Fernando Guillen Cuervo, Talk to Her, Don Quixote, Knight Errant) is a businessman. He and his friends prowl gay bars looking for young impressionable men. They are rich, and these young men, especially the immigrants, tend to be poor. It's easy to find a lover and ply him with money and food for sex. On one of these escapades, Daniel meets Kyril (Dritan Biba), a Bulgarian immigrant. Apparently, Bulgarians have a reputation for being really hot, so Daniel quickly latches onto him. Kyril has a girlfriend in Germany, and lies to her about his relationship with Daniel.

Daniel is using Kyril for easy companionship, and his affection soon turns to obsession. Because of this, Daniel is more and more of a wimp to Kyril's actions. He is using Daniel for money, and has something really shady going on. Daniel is curious, but not enough to do anything about it. Even when it becomes pretty certain that Kyril is doing something illegal, and when he returns injured, Daniel still does nothing. The arrival of Kyril's girlfriend Kalina (Anita Sinkovic) worsens things. Kyril is lying to her about Daniel and what he does, and Daniel is feeling more resentful and jealous.

Kyril is like a drug for Daniel. He is turned on by the danger, even though he knows it is bad for him. An attempt to break up with Kyril ends quickly, and Kyril always seems to win their fights. The interesting thing about these two people is that they know they are using each other, and don't seem to mind that much. For Daniel, it's more frustrating. It's obvious that things are not going well for him, but he keeps going to Kyril.

Cast:
Fernando Guillen Cuervo .... Daniel
Dritan Biba .... Kyril
Pepin Nieto .... Gildo
Roger Pera .... Lawyer
Anita Sinkovic .... Kalina
Fernando Albizu .... Mogambo
Roman Lukn·r .... Simeon
Simon Andreu .... Daniel's Father
Julia MartÌnez .... Daniel's Mother
Gracia Olayo .... Rosita
Emma Penella .... Remedios
Aure Sanchez .... Bambi
Alberto Lozano .... Taxista
”scar Iniesta .... Emil
Isabel Ampudia .... Hermana 1

Also Known As: Los Novios Bulgaros
Runtime: Germany:101 min (Berlin Film Festival) / USA:101 min
Country: Spain
Language: Spanish / Bulgarian / English
Color: Color
Sound Mix: Dolby Digital

Reviews

Esta película es por sí sola (por el mero hecho de existir) todo un acontecimiento, pues supone el regreso al cine después de quince años (su úl-tima obra cinematográfica fue “La estanquera de Vallecas” en 1987, aunque ya en el 2001 grabó para televisión la puesta en escena de la pieza teatral “Calígula”) de uno de los hijos más bastar-dos que ha dado este séptimo arte, el vasco Eloy de la Iglesia. Su retiro forzoso de la gran panta-lla por su conocida adicción a las drogas, parece haber sido definitivamente dejado atrás y no cabe duda que con “Los novios búlgaros” Eloy ha vuelto con toda su fuerza, rodando el film que le ha venido en gana como le ha venido en gana, y aunque el resultado no cabría calificarlo objetivamente de bueno, sí que por varios motivos se hace absolutamente necesario en nuestros días, a pesar de su obligada etiqueta de rara avis.

Con esta inocentada en forma de película, Eloy de la Iglesia recupera sin ru-bor y de forma muy provocadora y alocada todo el cine homosexual, gamberro, de drogas y de denuncia, de la época de la movida madrileña y sobre todo de lo que toca a su propia filmografía. De esta manera se desmarca por completo de la actual corriente de cine políticamente correcto, higiénico y falto de vida, que amenaza con asfixiar nuestra cinematografía autóctona (aunque el caso de España no esté aislado en el mundo) e insufla al celuloide de una carga explo-siva de personalidad y mala leche, que sin llegar a ocultar algunas de sus ca-rencias como narrador cinematográfico (que siempre ha esgrimido), sabe sacar el máximo provecho de sus aciertos y sus virtudes, llegando a colarnos esta clara exaltación de la serie B como una obra de autor de serie A (algo similar a lo ocurrido con la infame “The Rocky Horror Picture Show”, con la que guarda bastantes similitudes).

No consigue sacar De la Iglesia a su cinta de los abismos de los muchos excesos, obviedades y lugares comunes que la recorren (principalmen-te en todo lo referente a su trama de narcotráfico que no se aguanta ni queriendo ser magnánimo, pero también, aunque de forma mucho más bus-cada, en todo su reflejo de la fauna homosexual madrileña), pero aun así, no deja de ser estimu-lante ver a Fernando Guillén Cuervo jugársela (y no salir del todo mal parado) al asumir la inter-pretación principal de esta aventura y participar a su vez en el guión y la pro-ducción de este arriesgadísimo film. Su interpretación, si bien es un delirio de sobreactuación, consigue funcionar magníficamente dentro del tono guiñolesco que emana de todo el conjunto, siendo especialmente glorio-sas las escenas que comparte con “la superloca” Pepón Nieto (el cual revien-ta de gusto en este papel y roba planos sin descanso y con suma facilidad). La pareja de actores búlgaros, por el contrario, bordean la interpretación teatral e inoperante casi en cada plano, aunque parece un efecto eminentemente busca-do por su director, que una vez más sirve para dar vida a ese universo imposible e incontestablemente fantástico al que se agarra ferozmente este trabajo.Pese a sus imperfecciones, y siendo conscientes de que muchos espectado-res saldrán cabreados y sintiéndose estafados tras verla (las convenciones na-rrativas que el público está acostumbrado a esperar se esfuman aquí desde su mismo arranque), es innegable la importancia que va a tener esta obra, con su condición de soplo de aire fresco o de corte de mangas juguetón y libre, en la actual temporada cinematográfica.
A sus cuarenta años, Daniel es un homosexual de buena familia que disfruta de una desahogada posición social, un cómodo piso en un buen barrio de Madrid, un respetable bufete de abogados y una cordial relación con su conservadores padres, hermanos y cuñados.

Sin embargo, su vida privada se aleja un poco de tan convencional entorno. En sus ratos libres frecuenta el barrio gay de Madrid con sus habituales amigos, a veces a la cala de chicos guapos, últimamente todos extranjeros y especialmente eslavos, tras el derrumbe del Bloque del Este. Será en una terraza de Chueca en donde conocerá a Kyril, un búlgaro atractivo y sin escrúpulos de 23 años, del que quedará perdidamente enamorado. El perfecto compañero para un imprescindible viaje interior, un encuentro con sus verdaderas necesidades, un alter ego desarraigado y aventurero que además le llevará al borde de perder su seguro y aburguesado status social: los peligrosos y en ocasiones divertidos líos en que éste le va metiendo constituye en el argumento del guión, líos en los que Daniel se adentra diciéndose a si mismo que lo hace por ayudarle a salir adelante, pero en el fondo completamente vendido por la pasión que siente por él. Kyril se deja querer mientras va pidiéndole a su protector todo tipo de favores sospechosamente ilegales.Termina trayéndose de Bulgaria e instalando a su novia Kalina en su casa. Daniel les buscará piso y les acompañará en la fuga precipitada a su país de origen, donde conocerá a la familia de Kyril, que sobrevive como puede entre las ruinas del sistema comunista. Para todos, Daniel es un caballero español, una especie de Quijote contemporáneo, pese a que él es perfectamente consciente de estar siendo utilizado. De vuelta a Madrid, Daniel se ve expuesto a cada vez mayores peligros: avalará con una importante suma de dinero las sospechosas actividades de su amante, le arreglará los papeles de un coche robado y hasta se jugará la vida para sacarle de la cárcel, entregando a las mafias búlgaras una peligrosa mercancía radioactiva.

Fernando Guillén Cuervo

Fecha de nacimiento: 11/03/1963.
Lugar de nacimiento: Barcelona, Cataluña (España).

Filmografía como director:
(2000) Año mariano. De Karra Elejalde

Filmografía como actor:

(1975) El adúltero. De Ramón Fernández
(1985) Crimen en familia. De Santiago San Miguel
(1986) Adela. De Carlos Balagué
(1987) La ley del deseo. De Pedro Almodóvar
(1987) La señora. De Jordi Cadena
(1989) El mundo de Juan Lobón. De Enrique Brasó
(1989) El mar y el tiempo. De Fernando Fernán Gómez
(1990) Boom boom. De Rosa Vergés
(1990) Las edades de Lulú. De J.J. Bigas Luna
(1990) El invierno en Lisboa. De José A. Zorrilla
(1991) La noche más larga. De José Luis García Sánchez
(1991) El laberinto griego. De Rafael Alcázar
(1992) Shooting Elizabeth. De Baz Taylor
(1992) Havanera 1820. De Antonio Verdaguer
(1993) El aliento del diablo. De Paco Lucio
(1994) A Business Affair. De Charlotte Brandstrom
(1994) El día nunca, por la tarde. De Julián Esteban
(1994) Sálvate si puedes. De Joaquín Trincado
(1995) Gran Slalom. De Jaime Chávarri
(1996) Calor... y celos. De Javier Rebollo
(1996) Corsarios del chip. De Rafael Alcázar
(1997) Airbag. De Juanma Bajo Ulloa
(1998) Un buen novio. De Jesús R. Delgado
(2000) Año mariano. De Karra Elejalde
(2001) No te fallaré. De Manuel Ríos San Martín
(2001) Todo menos la chica. De Jesús Delgado
(2002) Nowhere. De Luis Sepúlveda
(2002) El Caballero don Quijote. De Manuel Gutiérrez Aragón
(2002) Los novios búlgaros. De Eloy de la Iglesia
(2003) Amb el 10 a l’esquena. De Eduard Cortés
(2004) Tiovivo c. 1950. De José Luis Garci
(2005) Vorvik. De José Antonio Vitoria

Filmografía como productor:
(2002) Los novios búlgaros. De Eloy de la Iglesia

Filmografía como guionista:

(2000) Año mariano. De Karra Elejalde
(2002) Los novios búlgaros. De Eloy de la Iglesia

Eloy de la Iglesia (Director)

His Secret Life

His Secret Life (Le Fate Ignoranti)

(2001)

Director: Ferzan Ozpetek
Writers: Ferzan Ozpetek, Gianni Romoli
Genre: Drama

Synopsis: AIDS doctor Antonia's husband is killed by a car. She gets depressed until she learns he had been cheating on her with a man. Following her newly born curiosity for life, she goes to see her husband's lover, Michele, and finds a huge apartment that he shares with gay and transgendered friends, including a Turkish immigrant and a prostitute. Antonia is reluctant to tell these people of her relationship to the dead man, but needs prompting to move on to a new phase of her life.

Cast:

Margherita Buy .... Antonia
Stefano Accorsi .... Michele
Serra Yilmaz .... Serra
Gabriel Garko .... Ernesto
Erika Blanc .... Veronica (as Erica Blanc)
Andrea Renzi .... Massimo
Koray Candemir .... Emir
Lucrezia Valia .... Mara
Filippo Nigro .... Riccardo
Ivan Bacchi .... Luciano
Maurizio Romoli .... Angelo
Carmine Recano .... Israele
Luca Calvani .... Sandro
Rosaria De Cicco .... Luisella
Edilberta Caviteno Bahia .... Nora

Also Known As:
Le Fate ignoranti
(Italia)
Tableau de famille (France)
The Ignorant Fairies (International: English title)
MPAA: Rated R for language and sexuality.
Runtime: 106 min / Argentina:110 min (Mar del Plata Film Festival) / UK:109 min
Country: Italy / France
Language: Italian / Turkish
Color: Color
Sound Mix: Dolby Digital

Reviews

Antonia, happily married to Massimo, has her life turned upside down when he is killed in a car accident. At first, she tries to deaden her pain with scotch and pills, but it is finding the unsettling truth about Massimo's secret life that allows her to break free and move on. She is devastated and alone after his death, because his needs have eclipsed hers during the 10 years of their marriage. She has no child. Her medical career has taken a back seat. Her mother is not a great comfort.

When Antonia finds a painting inscribed to Massimo, clearly from a lover, she becomes determined to find his secret love. She follows the leads to an apartment house in the colorful and ancient Ostiense district of Rome. The inhabitants of the apartment are no less colorful. She meets resistance but keeps coming back until the truth slowly dawns. Conventional expectations being what they are, director Ferzan Ozpetek (Steam: The Turkish Bath) cleverly lets us watch Antonia come to realize what seems so obvious: Massimo's lover is Michele, a handsome young buck who lives in the apartment building with this family-like mélange.

The dissection of the lies and secrets continues through the film, suggesting that most of us live by the grace of lies that allow us to not see some of life's harsher realities. Antonia (Margherita Buy) finds comfort and friendship among these eccentric characters that have been part of Massimo's life for seven years. For seven years, he spent a lot of time with this surrogate family, laughing, dancing, cooking, and eating with them. And he has loved Michele (Stefano Accorsi, The Last Kiss), the testosterone driven charmer who lives life in the fast lane on the gay club circuit. Michele has been bitter about only having stolen moments with Massimo, although it is Antonia who has been deceived. Michele is a guy who often wants most what he can't have. He is caring for Ernesto, HIV positive, sick, and whose lover has disappeared.

Michele, at first angry and bitter about the crumbs of Massimo he got, comes to value and even love Antonia, in a way that comes as a surprise to him. She has been kind and straightforward with the group, summarily delivering IV drugs to Ernesto. Antonia is a doctor who works with AIDS patients. The first time she is invited to share a meal, she is met with unfriendliness as they try to give misplaced support to Michele. They are embarrassed and sorry. They include Stella and her brother Emir, who fled Istanbul and a painful past, and Mara, a transsexual whose sex change operation has her uneasy about going home after a ten year absence. The sharp contrast between the cluttered, noisy, cheerful apartment, where a wonderful meal is always being cooked and the tranquil, minimalist, suburban villa outside Rome, that Antonia shared with Massimo, is an effective visual metaphor for the vast differences that seem to separate the people.

The film doesn't delve into Massimo's motives or rationale, but rather, lays bare what is left behind. Antonia has relinquished pursuit of her own life (medical school, children) to make a life that suited Massimo. It is not surprising, but very refreshing, that the core of the film is her journey to uncover the secrets of her own life. Along the way, Michele learns a few things himself: People are a product of the sum of the past, of what has happened to them or failed to happen and what they've chosen to believe.

As too often occurs, a foreign language film is given a prosaic title for release in the United States, although the Italian title The Ignorant Fairies, referring to the painting that leads Antonia to the apartment house, is so much more interesting. The well-chosen music underscoring the scenes of operatic tragedy, or the wistful jazz trumpets that fold over the boisterous club scene, add nicely to the story telling. This is a fine, original, and touching film.


Short biography of
Stefano Accorsi

Stefano Accorsi was born in Bologna on 2nd March 1971. He graduated from the Theatrical School of Bologna in 1993 and he played for some years at the theatre, before beginning the cinema. He made his first film Fratelli e Sorelle (Brothers and Sisters) in 1991, in the USA.
In 1995 he was the protagonist of Jack Frusciante è uscito dal gruppo, one of his most known films.
In 1998 he worked with Daniele Luchetti in I Piccoli Maestri, which was in Competition for the Golden Lion at the Venice International Film Festival.
Of the same year is the film Radiofreccia, which had a big success in Italy and with whom Stefano won 3 prizes.
L'ultimo bacio (Last kiss) is the title of one of his last films (2001) which had an incredible success in Italy.
He won the leading role in Maria de Medeiros’ Capitães de Abril (April Captains), and has worked with director Nanni Moretti in La stanza del figlio (The son's room - the film is the Winner of the Palme d'Or in Cannes 2001).
In 2001 Accorsi also head the leading role in Ferzan Ozpetek's Le fate ignoranti (His secret life), which was in competition at the 2001 Berlin International Film Festival. This film was a big success in Italy and in Turkey and Stefano, who played the role of an homosexual boy, won 3 awards for his wonderful interpretation.
He played in David Blair's Tabloid tv (UK) and in Marco Ponti's Santa Maradona (I).
The latter has been shown in Italian cinemas in November- December 2001 and was appreciated by the public, becoming the most seen Italian film of the season.
Then Accorsi acted in the tv-film Il Giovane Casanova by Giacomo Battiato, shooting in Paris for France 2 and in Italy for Canale 5.
His last film is Un viaggio chiamato amore (A journey called love) which took part in the Venice International Film Festival 2002 and with which Stefano won the Coppa Volpi, the award for best male performance. The role Stefano Accorsi plays in the film is the Italian poet Dino Campana.
He didn't shoot any film for about an year, in which he went to France where he learned French.
He went to the Venice International Film Festival 2003 as a member of the jury. In 2004 he shooted two movies: "Ovunque sei", directed by by Michele Placido (the same director of "Un viaggio chiamato amore") where he plays the role
of a doctor of the first aid; "L'amore ritrovato", directed by Carlo Mazzacurati, a sweet love story between a married man (Accorsi) and a past love (Maya Sansa). Both these movies participated at the Venice International Film Festival 2004, the second one not in competition.
2005 starts in a very good way: his last movie "Provincia Meccanica", of the director Stefano Mordini, has just been selected as a representative of Italy at the Berlin Film Festival in February and he's almost ended to shoot in Rome "Romanzo criminale", still directed by Michele Placido, featuring many famous italian actors

Km. 0

Kilometer O

(2000)

Directed by: Yolanda GarcÌa Serrano, Juan Luis Iborra
Writers: Yolanda GarcÌa Serrano, Juan Luis Iborra
Genre: Comedy

Synopsis:

Km. 0 is an exuberant sex farce that takes a frenzied peek into the lives of a group of 14 people whose lives all intersect one very hot summer day at km. 0, the very center of Madrid. The various plotlines, several of which involve gay men, all involve chance meetings, missed connections and mistaken identifies, but from the confusion comes unexpected erotic interludes, new friendships, hot and bothered sexual escapades and romantic couplings. Itís gay, straight, young, old: thereís the 21-year-old movie director hopeful who is fresh off the bus and is picked up by a prostitute instead of his sisterís friend; Marga (Concha Velesco), an older woman who beds a male escort (Jesus Cabrero) only to discover that she may be related to him; a gay dance instructor whose personal encounter with a chat room guy offers sex and maybe even love; Sergio (Alberto San Juan), a virgin about to be married but befriended by a interested gay man; Silvia (Marce Pons), an aspiring actress who will do anything to get a part in a big musical. Amidst the heat, dreams are realized, clothing shed and romance triumphs! A rollicking, fast-paced comedy about finding your right partner, even if it means trying on a few beforehand.

Cast:

Concha Velasco .... Marga
Georges Corraface.... Gerardo
Silke ............. Amor
Carlos Fuentes .... Pedro
MercË Pons .... Silvia
Alberto San Juan.... Sergio
Elisa Matilla .... Tatiana
Armando del RÌo .... Maximo
Miquel GarcÌa Borda.. BenjamÌn (as Miquel GarcÌa)
Jesus Cabrero ..... Miguel
Victor Ullate Jr..... Bruno
Cora Tiedra .... Roma
Tristan Ulloa .... Mario

Kilometro Cero (Spain)
Km. 0 - Kilometer Zero (International: English title)
Runtime: 108 min / USA:100 min (DVD)

Country: Spain
Language: Spanish

Color: Color
Sound Mix: Dolby Digital

En una calurosa tarde de verano, catorce personas que necesitan un cambio en sus vidas se encuentran en el centro de Madrid, el Kilómetro Cero. La vida de la gente puede cambiar de forma radical por un encuentro fortuito. Algunos acaban con la persona que esperaban, pero la mayoría se encuentra con la persona equivocada, terminando sin embargo más felices que al principio. Encuentran un nuevo kilómetro cero para sus vidas.

Marga es una mujer de mediana edad, rica e insatisfecha. Queda con Miguel, un joven gigoló. Pedro, un joven estudiante de cine que acaba de llegar a la ciudad, se va a reunir con Silvia, una actriz en paro.

Sergio, funcionario a punto de casarse, se cita con Tatiana, una ingenua prostituta. Amor, es una joven empeñada en casarse con su novio, Mario, un camarero en una cafetería del Kilómetro Cero.

Roma, la hermana menor de Amor, está enamorada de Mario. Bruno es un bailarín profesional que queda con Máximo, al que ha conocido a través de Internet. Benjamín ha salido un rato del apartamento que comparte con Miguel para dejarle trabajar tranquilo.

Gerardo es un director de teatro que está buscando el reparto de la obra más importante de su carrera. Y también hay un policía... Algunos acaban con la persona que esperaban, pero la mayoría que encuentra con la persona equivocada, terminando sin embargo, más felices que al principio. Encuentran un nuevo Kilómetro Cero para sus vidas.

Referencias
• Segunda película de Juan Luis Iborra y Yolanda García Serrano tras Amor de hombre.
• Está protagonizada por Concha Velasco (que continúa su renovada trayectoria cinematográfica tras París Tombuctú), Silke (en su segundo estreno en la que va de año tras ¿Tú que harías por amor?); Carlos Fuentes (La otra cara de la luna, Hijos del viento) y George Corraface.
• El extenso reparto se completa con Alberto San Juan (Zapping, Los lobos de Washington, La sombra de Caín); Tristán Ulloa (Rewind, Los sin nombre, Marta y alrededores) y Elisa Matilla.
• El título de la película hace referencia al lugar de la Puerta del Sol de Madrid donde se sitúa el kilómetro cero.
• El tema principal de la película está interpretado por el cantautor madrileño Ismael Serrano.
• El propio director, Juan Luis Iborra, interviene en la película interpretando a un cliente de Tatiana.

Regular Guys

Regular Guys

(1996)

Directed by: Rolf Silber
Writers: Rolf Silber, Rudolf Bergmann
Genre: Comedy



Synopsis:

Christoph, cop and self-confident macho, has trouble with his fiance. After a long night he wakes up in the arms of Edgar, a good-looking, gay auto-mechanic. His live gets more and more troublesome after his girl friend throws him out of their apartment and as last resort he moves to Edgars place. Working together with a new, good-looking, very self-confident, female collegue, but living with a good-looking gay guy makes him pretty uncertain about his sexuality and his role as a cop.



Cast:

Christoph M. Ohrt .... Christoph Schwenk
Carin C. Tietze ...... Helen
Tim Bergmann ...... Edgar
Oliver Stokowski ..... Mike
Rudolf Kowalski ...... Kallenbach
Dieter Brandecker .... Deichsel

Ina Weisse ...... Karin
Andreas Pietschmann .. Marco
Heinz-Werner Kraehkamp Mofafahrer (Motorbike Driver)
Edgar M. Bˆhlke ...... Himself
Antonio Putignano .... Pizzabote (Pizza Deliverer)
Martin Ankermann ..... Herr Tanner
Karina Marmann ...... Ursula
Philipp Seiser ...... Anton

Echte Kerle (Germany)
Runtime: 100 min
Country: Germany
Language: German
Color: Color (Eastmancolor)
Sound Mix: Dolby Digital


Despite being a sexist pig, the cop Chris Schwenk has likeable qualities -- it helps to be cute as well as off-balance, off-balance because he is bewildered to find himself living with a gay man (Edgar) with whom he may or may not have had drunken sex, and at the same time he's reluctantly drawn to a highly competent and attractive female colleague whom he resents and who (unnervingly) sees him for what he is and says so. Along the way there are varied opportunities for confusions and misunderstandings (it's a comedy, after all) that disconcert both the characters and the audience. No question Chris comes to be very fond of Edgar, for example, but the movie shrewdly makes it hard to tell how fond, and fond in what way -- and despite the fact that Edgar is somewhat mixed up in shady matters (is his garage really a chop-shop, as he jokingly claims? And what is a policeman to do about it?). All the principal characters are decidedly likeable, and even some of the minor ones such as Edgar's sophisticated and unflappable mother. The ending is a bit of a surprise, but a pleasant one, and upon reflection shouldn't be that much of a surprise anyhow (there are clues and hints sprinkled around, beforehand). By the way, there's frontal nudity (male) and naked men in a bed (and a bathtub) together, and a scene where Chris and Helen (the cop) are, well, doing what cops do (copulate -- har), but only a serious prude would be offended by any of it. A minor film without doubt, but droll and touching and well made.