Bear Cub (Cachorro) (2004)
A man tries to leave his wild life behind him for the sake of a young boy in this comedy drama. Pedro (José Luis García Pérez) is a dentist who lives and works in Madrid. Pedro is also a "bear" -- slang for a gay man who is stocky and has lots of body hair. Pedro likes the company of other bears, and enjoys a freewheeling sex life until his sister Violetta (Elvira Lindo) arrives at his door with a special request. Violetta is traveling to India for two weeks, and wants Pedro to look after her son, nine-year-old Bernardo (David Castillo), while she's away. Pedro initially bristles at the idea of playing babysitter, but he soon warms to the situation, and develops a paternal bond his nephew. Pedro also gets some help from Manuel (Arno Chevrier), a former boyfriend who is looking to settle into a stable relationship. When Pedro gets word that Violetta has been arrested in India for drug smuggling and is likely to spend some time behind bars, he realizes that he's going to be stuck with Bernardo for a while -- and to his surprise, he doesn't mind the idea at all. But Doña Teresa (Empar Ferrer), the boy's paternal grandmother, openly disapproves of Pedro's lifestyle, and doesn't want Bernardo staying with his uncle. While Pedro is strictly mindful of his behavior around the house, he occasionally slips out for anonymous sex with fellow bears, and when a detective hired by Doña Teresa catches him in the act, it's an open question if he'll be allowed to have continued custody of his nephew. Cachorro (which translates as Bear Cub) received its American premiere at the 2004 Miami Gay and Lesbian Film Festival. … More
- R (for sexuality, drug use and language)
- Art House & International , Comedy
- Directed By:
- Miguel Albaledejo , Miguel Albaladejo
- Written By:
- Miguel Albaladejo , Salvador García Ruiz
- In Theaters:
- Nov 5, 2004 Wide
- On DVD:
- May 10, 2005
- Box Office:
as Doña Teresa
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Critic Reviews for Bear Cub (Cachorro)
Thoroughly likable, it never resorts to sentimental cliches or moralistic epiphanies.
The film is, of course, not all sex, and, indeed, brims with observant intelligence.
Suddenly this careful and patient movie turns cheap and hasty, with unexpected disclosures, desperate curveballs, and crocodile tears. It's not ruinous, but it's not good either.
There is a family movie within the gay subtext of "Bear Cub" that is a draw for the sophisticated film-goer.
A fresh and surprisingly insightful look at human interaction, from the way we create families around us to the cruel realities of the world.
[Cachorro provides] 100 minutes of wonderfully realised characters, many laughs, some tears and much valuable insight.
Bear Cub knows about a million ways to jerk our tears, but it hasn't mastered any of them.
Albaladejo takes a warm approach to his characters, from Pedro's boisterous circle of like-minded gay pals (known as 'bears' for their stocky builds and facial hair) to Bernardo's paternal grandmother.
It turns into a subtle character study that both gay and straight audiences will find moving.
Director Luis Miguel Albaladejo has an essential, rather sweet earnestness, but we sense that he likes pushing touchy buttons.
Had the story had more oomph to it, its stance would have seemed a lot more important as an artistic issue. But as things sit, it's an abstract plus indeed.
The movie has a good deal of warmth and humor and has a certain liveliness to it... not a perfect movie, but one that will touch the cuddly bear in each of us.
The film's ambitions are laudable, and it manages to be touching, funny and true to life.
Though it has all the makings of a trite, dogmatic TV movie about gay adoption, it manages to maintain a sense of humor, subtlety and restraint throughout.
The strength of Bear Cub is that it eschews exposition in favor of gradual revelation.
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