The Blonde One Reviews

  • Aug 16, 2020

    This film is so powerful and captivating particularly Gastòn Re's performance as the introverted ‘blonde one' Gabriel!

    This film is so powerful and captivating particularly Gastòn Re's performance as the introverted ‘blonde one' Gabriel!

  • Jul 29, 2020

    This contains little spoilers : I was really annoyed by the way the main character was treated. I'm pretty sure all of his dialogue could fit in on a single page, if not less. I was expecting him to speak up and stand up for himself but unfortunately, it didn't happen. Too bad because this could've been a nice movie.

    This contains little spoilers : I was really annoyed by the way the main character was treated. I'm pretty sure all of his dialogue could fit in on a single page, if not less. I was expecting him to speak up and stand up for himself but unfortunately, it didn't happen. Too bad because this could've been a nice movie.

  • May 11, 2020

    Another amazing film by Marco Berger! I enjoyed it!

    Another amazing film by Marco Berger! I enjoyed it!

  • Mar 21, 2020

    super good very realistic

    super good very realistic

  • Jan 30, 2020

    Well that was depressing.

    Well that was depressing.

  • Jan 05, 2020

    Capturing loneliness adroitly. Spoilers Alert Two working-class men working in the same firm get to live together. Gabo rents a room from a regular Lothario whose sexual proclivity is matched by his furry chest. Unfortunately, despite being the top, his voice timbre leaves much to be desired. Gabo is a taciturn young man, whose blonde loveliness is exploited to the hilt by the director. As opposed to other Berger films, the sexual connection happens early in the movie. But what follows are long silences, roof shoots, and dark and rainy grained shots that showcase sadness. Overall the mood of the film is somber and only brightens a bit when Gabo interacts with his daughter. Juan leads a double life publicly; he plays a part of a heterosexual male. To sustain himself in a lower-class environment where machismo needs to be proven daily with drink, smokes, and sexual conquests of women imagined or otherwise. He expertly manipulates and scolds and insults Gabo but cannot stop sleeping with him. But things come to a head when he gets his on-off girlfriend pregnant. He gets rid of Gabo using his girlfriend and then tries to extract a promise of clandestine sexual meetings. But Gabo has grown wary, shocked to numbness by his treatment, he even changes his job and terminates the unhealthy relationship. While the hurt is his, Juan seems to be pensive. Since the dialogues are kept to the minimum and Gabo just grunts in the movie, it is difficult to understand the ending. While Berger's other films end with a promise, The Blond One ends with an open question. Is there any future for Gabo and Juan together? The answer seems to be a No.

    Capturing loneliness adroitly. Spoilers Alert Two working-class men working in the same firm get to live together. Gabo rents a room from a regular Lothario whose sexual proclivity is matched by his furry chest. Unfortunately, despite being the top, his voice timbre leaves much to be desired. Gabo is a taciturn young man, whose blonde loveliness is exploited to the hilt by the director. As opposed to other Berger films, the sexual connection happens early in the movie. But what follows are long silences, roof shoots, and dark and rainy grained shots that showcase sadness. Overall the mood of the film is somber and only brightens a bit when Gabo interacts with his daughter. Juan leads a double life publicly; he plays a part of a heterosexual male. To sustain himself in a lower-class environment where machismo needs to be proven daily with drink, smokes, and sexual conquests of women imagined or otherwise. He expertly manipulates and scolds and insults Gabo but cannot stop sleeping with him. But things come to a head when he gets his on-off girlfriend pregnant. He gets rid of Gabo using his girlfriend and then tries to extract a promise of clandestine sexual meetings. But Gabo has grown wary, shocked to numbness by his treatment, he even changes his job and terminates the unhealthy relationship. While the hurt is his, Juan seems to be pensive. Since the dialogues are kept to the minimum and Gabo just grunts in the movie, it is difficult to understand the ending. While Berger's other films end with a promise, The Blond One ends with an open question. Is there any future for Gabo and Juan together? The answer seems to be a No.

  • Jan 03, 2020

    我前天晚上才看了,挺感动的!爱死马克的电影了!!!

    我前天晚上才看了,挺感动的!爱死马克的电影了!!!

  • Jan 01, 2020

    The director still relies on male beauty to pivot the film. Gaston is very beautiful. The film relies on known Marco tropes of extended silences and shoots of inanimate things like rooftops, railways, and parks, bridges, and the like. The movie differs from his other offerings of slow seductions moves and soulful music. The connection happens very quickly. What follows is something which will give the film away. Gaston, who is the producer of the movie, gets a tailormade role. He uses expressions, never out of the top, to convey his feelings. For example, to send a question during the short seduction sequence, he moves a muscle above his eyebrow. To express shock, a slight widening of eyes, and his silence communicates more than the machismo nonsense that surrounds him. He speaks less as a defense mechanism as well. The problem of the working class males in a neoliberal society dominated by Television would find universal attention and appreciation. The film is tragic but unquestionably more realistic that Marco's other movies.

    The director still relies on male beauty to pivot the film. Gaston is very beautiful. The film relies on known Marco tropes of extended silences and shoots of inanimate things like rooftops, railways, and parks, bridges, and the like. The movie differs from his other offerings of slow seductions moves and soulful music. The connection happens very quickly. What follows is something which will give the film away. Gaston, who is the producer of the movie, gets a tailormade role. He uses expressions, never out of the top, to convey his feelings. For example, to send a question during the short seduction sequence, he moves a muscle above his eyebrow. To express shock, a slight widening of eyes, and his silence communicates more than the machismo nonsense that surrounds him. He speaks less as a defense mechanism as well. The problem of the working class males in a neoliberal society dominated by Television would find universal attention and appreciation. The film is tragic but unquestionably more realistic that Marco's other movies.

  • Dec 24, 2019

    Preciosa. Berger como siempre nos hace entrar en la profundidad de sus personajes, mientras mantiene la tensión y el erotismo. Es una marca registrada.

    Preciosa. Berger como siempre nos hace entrar en la profundidad de sus personajes, mientras mantiene la tensión y el erotismo. Es una marca registrada.

  • Dec 11, 2019

    Up there with God's Own Country as one of the great foreign gay love stories. Marco Berger yet again captures it all. One of best foreign films of year

    Up there with God's Own Country as one of the great foreign gay love stories. Marco Berger yet again captures it all. One of best foreign films of year