A dose of harsh reality intermixed with an unexpected element of effortless comedy. Hernán Jiménez’s film, Entonces Nosotros, opens one’s eyes to a tragically dissipating romance, resulting in a heartache only a well-rehearsed comedian could find humor in.
A tainted, sharp-edged humor endures throughout the narrative, as boyfriend Diego (Jiménez) and girlfriend Sofía (Noelia Castaño) banter with occasional affection, frequent antagonism and an intimate passion. The audience glimpses these comedic quarrels during the opening scene, a therapy session. As Sofía spews her acute observations of Diego and his faults, Diego can only combat his insecurities with a few, slicing comedic digs.
While it is Jiménez and Castaño’s characters that long for a lost ‘synchronicity,’ the actors themselves display an inherent ease and connection throughout the film. Whether they are bickering or exuding a playful intimacy, the relationship between Diego and Sofía feels authentic, as if we are actually coming upon a three-year relationship at its wits end.
We are introduced to Melina (Marina Glezer) who offers an unexpected turn in a typical romantic narrative. At her first introduction, Melina is a dramatic, slightly loco character who everyone would assume goes after Diego in an attempt to ruin an old frenemy’s relationship. Not so. Melina proves uncharacteristically calculated, manipulative and in fact stoking the embers of a love she once lost in Sofía. Glezer and her character toe a refreshingly surprising and indecipherable line until the end of the film.
The drama and the back and forth could all but be consuming and somber if not for the film’s unique comedic twists. Even as Diego spends the day longing for Sofía to return and resolve their nth fight, the montage of his wasteful and unpleasant activities is met with a soulful trumpet, connotative of an iconic jazzy, sleuthing soundtrack. An upbeat and uncharacteristic rhythm that animates an otherwise dolefully depressing day.
The cinematography is personal and ranging. A long shot of Diego and his fearful ocean, then zones to an extreme close-up, emphasizing the anxiety in Diego’s eyes. A series of point-of-view angles, utilizing a GoPro-like lens, offers the audience an extremely raw look at what Diego sees, how he feels and the escalation of his fears. Whether the stem of hypochondria or not.
Overall, the film is refreshing in a multitude of ways. It’s raw emotion entrances the audience in a romantic dilemma unfounded in a typical love story. It’s harsh humor leaves the viewer with a decision to cringe at the relatable reality, or simply laugh in spite of life and its unending downpour of cruelty.
The film’s most interesting feature is its leading male’s almost omniscient narration, occurring as though bookends of the storyline. Wise, grown and unlike the scattered and self-conscious comedian at the start, Diego’s voice comes from a distance as he summarizes the essence of the film.
“It was life. Life running its course…”
Featured Image via Wikimedia Commons