Film: Undertow
Release date: 27th September 2010
Certificate: 15
Running time: 100 mins
Director: Javier Fuentes-Leon
Starring: Tatiana Astengo, Manolo Cardona, Cristian Mercado
Genre: Drama
Studio: Axiom
Format: DVD
Country: Peru/Colombia/France/Germany
Undertow is Javier Fuentes León’s first feature film and has won several awards, including the audience award at the Sundance Film Festival. The film is, on the surface, a love triangle, but also a study of a community and one man’s dilemma, caught between familial and community responsibilities and forbidden passion.
It is the story of Miguel, a fisherman from a tiny village in Peru and his forbidden homosexual affair with Santiago; an outsider referred to by the villagers only as ‘the artist’.
Miguel is married to Mariela, who is well respected within the community, and they are expecting their first child. Miguel is torn between the acceptance of his people and his love for Santiago. Only when Santiago is drowned and returns, visible only to Miguel, can they openly be together…
Undertow is literally translated as ‘cross currents’, and that perhaps more accurately describes the main character’s internal angst. Fisherman Miguel is torn between his commitment to his wife and unborn child and his secret love for artist Santiago, between his community and his real feelings. Only when Santiago is dead can he finally have everything. One of the few moments of joy in the film is the scene in which they walk hand in hand through the village in the open for the first time, the villagers none the wiser. This is a rare moment of liberation for Miguel, who is in denial about his true feelings for most of the film. For the most part, he appears stifled.
The film perfectly captures the isolation of the village, which is surrounded by cliffs. It is never mentioned where (or when) we are, giving a sense of loneliness and separation. This separation from the outside world makes Miguel’s dilemma all the more difficult, since this place and these people are his whole world, something he cannot give up lightly. He knows that he and Santiago’s relationship will never be accepted, not only because of his wife, but because Santiago, who is openly gay, has been ostracised by the entire village, referred to only as ‘the artist’. The gay theme is not heavy-handed, however, and the scenes between Santiago and Miguel are tender, as well as erotic.
The film veers between the magical realism of Santiago’s post-death appearances, and melodrama, a sometimes uneasy blend. However, the story and characters are engaging, if simply drawn. The acting is affecting and the score simple. Everything in fact from the cinematography to the storyline is simple and uncluttered, leaving the audience free to concentrate on the sadness of the central dilemma, which we know cannot end happily.
We do not get a lot of back-story for any of the characters, and some may find this frustrating, particularly regarding Miguel’s wife Mariela. The villagers, too, often appear a little archetypal, with little depth. Mariela, although portrayed as strong is also somewhat incomplete as a character. It is the scenes between Mariela and Miguel, however, particularly in the second half of the film when she is forced to make a difficult decision that provides the most heartache.
The fishing village is beautifully shot, and the love scenes on the beach between Miguel and Santiago appear sun-drenched and idyllic. The ocean is almost a character itself, as the life of the village and its inhabitants are entirely built around it. We see Miguel taking his newborn son out to listen to the waves in one touching scene. It also acts as a metaphor for the passions that are hidden beneath the surface, and, of course, acts as an important plot device, allowing the lovers to be together after Santiago’s drowning.
The symbolism throughout is a little obvious but the story charms nonetheless. Water burial functions as a recurring motif, symbolising change and rebirth. The circular narrative enforces this; the film begins with the water burial of Miguel’s cousin and ends with that of Santiago, which Miguel has fought his wife and the prejudice of the villagers to perform; a test of his courage as a man. This ritual, the villagers believe, will allow the souls of the dead to ‘pass’. The scene is laden with his grief but also suggests that Miguel is finally free to be himself. The film’s ending is ultimately positive, and, overall, this is an enjoyable viewing experience.
Undertow manages to incorporate magical realism in order to examine a man’s identity and choices. It is beautifully shot and the performances are excellent. It may be a little heavy handed with its symbolism, and a little light on storyline and secondary character development, but the film is gorgeous to look at, and it is impossible to come away from viewing it without a degree of sadness and feeling for Miguel’s internal struggle. CP
