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Pintos has a magnetic presence, and his remarkable pigeon chest isn't a filmmaking gimmick. His eyes drill right through the screen, evoking enormous feelings that Emilio can't quite get a grip on. He's been taught that being a straight tough guy is the only way to prove himself worthy of continuing his mother's work. To figure this out, he needs the example of the talented Juan, beautifully performed with offhanded heart by musician Wauters. Surrounding actors also have a strong impact without stealing focus.

Because De Leon maintains defiant originality in the way he depicts things, the story unfolds in ways that continually catch us by surprise. And even though it's at the centre of the plot, the pigeon metaphor comes through without ever feeling heavy-handed. This is a skilful look at how all of us have to grapple with who we genuinely are as opposed to who we think we should be. And it's a quietly insistent statement that denying the truth will only leave us alone and miserable.

themes, language, violence, sexuality

21.Mar.26 flare

These issues play out subtly in nuanced performances. Soroiz has a relaxed presence as Vicente, allowing the audience to see under his skin. He's remarkably sympathetic, a man who has made some bad decisions but works up the courage to face them while battling back from a debilitating illness. His distinct connections with others have a sometimes startling complexity, and the supporting cast members shine in unusually well-rounded roles, with stand-out moments for Aranburu and Uranga.

This is a fascinating depiction of the impact a machismo-driven society has on people who struggle to fit the accepted mould. So the disappearance of gay safe spaces from cities is a real problem, even for a younger generation that claims not to need them anymore. The filmmakers also cut through surfaces to remind us that even the biggest bigot in the room is a human being with a beating heart. And Vicente's journey is gorgeously rendered, right to the moment when he is finally honest with himself and others for the first time.

themes, language, sexuality

19.Mar.26 flare

Much of the film's power is in silent moments, especially between Monter's curious, nervous Didac and Wenz's cheekier stranger. Both actors are terrific, avoiding the predictable route through their encounter. As the younger siblings, Sole and Colell have a strong presence, always seeming to be in the wrong place. And Bonnin and Oriol take their own meaningful journeys as parents navigating their eldest son's quietly resistant attitudes while trying to soothe the rough edges of their relationship.

Monica and Albert understand something that their sons do not: this is likely to be the last time they will be able to take a summer holiday like this. So the film becomes a lovely depiction of this moment when everything begins to shift for this family, something that can be seen in each of their inter-relationships. This leads to several subtly moving moments along the way, from a piano-playing sequence and Monica's telling encounter with a German actress (Sobottke) to the film's final shot, in which the camera shifts from Didac to Biel.

themes, language

23.Mar.26 flare