REVIEW: Cinema Release: Undertow

Film: Undertow
Release date: 6th August 2010
Certificate: TBC
Running time: 100 mins
Director: Javier Fuentes-León
Starring: Tatiana Astengo, Manolo Cardona, Cristian Mercado
Genre: Drama/Romance/Fantasy
Studio: Axiom
Format: Cinema
Country: Peru/Colombia/France/Germany

Director Javier Fuentes-Leon’s debut offers a very unusual love triangle concept, but apparently not so out of the ordinary to turn off viewers – picking up the the 2010 Sundance World Cinema Audience Award.

Set in a tiny coastal village in Peru, it has three main characters. Miguel (Mercado) is a hard-working fisherman, popular, a member of the local footy team, and looking after his pretty wife Mariela (Astengo), who is heavily pregnant with their first child. He also has another side, however - he is involved in a passionate affair with local painter Santiago (Cardona). Miguel wants to keep the two sides of his life separate, but Santiago begins to demand more of him - even trying to befriend Mariela at a local market.

Just when the story appears to have played itself out, the film takes a huge turn – Santiago is mysteriously drowned, apparently dragged under by the undertow of the title. Miguel is stricken with grief, so much so that Santiago starts appearing to him, and they carry on their argument about happiness and giving. Santiago’s ghost demands that Miguel finds his body and buries him properly, but Miguel is so in denial he follows another path.

Just as it all starts to go a bit Ghost, the story takes yet another left turn, as local gossips start to reveal Miguel’s affair. When this reaches Mariela she faces a decision, whether to leave Miguel or stay for the sake of their baby. Miguel meanwhile is still denying the rumours, but Santiago’s ghost won’t rest until he does the right thing…


It would be too simplistic to describe this award-winning drama as the Peruvian Brokeback Mountain. It certainly covers similar themes and territory, a man trying to come to terms with being happily married with a child, but who also has a secret gay life which has serious consequences. Undertow, though, uses very different methods to tell its story.

The amazing thing about Undertow is the way it uses techniques we’ve seen a hundred times before – “I see dead people” – but weaves them in an intricate pattern to create something fresh, complex and gripping. It never makes assumptions about characters, using its tiny seaside setting and isolated community in such a clever way. The villagers are traditional and disapproving of homosexuality, yet they are also capable of forgiveness and of recognising the importance of respecting others.

The three lead characters give tremendous performances; very real, honest and passionate, with Astengo’s Mariela particularly strong. She goes from feeling loved to betrayed to angry to compassionate without missing a beat, and in one scene where she defends her husband to the local gossips she is as strong as a lion. The two men too are equally fine, especially Cardona’s Santiago as the spurned lover who also has to deal with hostility from the locals.

It’s the debut film from the director, and we can only hope he keeps up this standard. He is helped by his extraordinary setting, the little fishing village looking like a Salvador Dali painting and his cinematographer never goes for the pretty, preferring the surreal every time. Some of the sunsets and wind-swept beaches are breathtaking.


Updating a tried and tested formula, director Javier Fuentes-Leon’s debut is certainly deserving of its award successes and critical acclaim, elevated by the beautiful setting and some outstanding contributions from its leads.