Wasn't expecting a few unexpected twists and the fast sudden change of leads within a movie with 2 protagonists. Impressive. This has a genuine feel of reality and it follows a very logical route of story telling. And that's exactly how the guilty character would behave with anyone caught in that dire predicament. The female helper was truly superb in her performance giving so many conflicting and disturbing vibes of what exactly is she in character essence. She can seem naive and somewhat intellectually slow, yet her instinctive prodding for an accomplice to erase her reckless misdeed betrays her darker nature. Again, the ending was another unexpected twist from her yet unpredictable surrender of truth when she could have had simply fade into oblivion. Great show.

I just loved watching this movie. Hard to watch in some parts but overall this is a modern age art film at his best.<br/><br/>It was such an interesting idea from the director to come out with this story. It&#39;s like a moodboard of the queer community but also about the difference between being a local or a visitor in a foreign country.<br/><br/>I wasn&#39;t expecting the twist through not even halfway the movie. The character of Vero is silly but also brilliant. Jordan is just being Jordan and we just love to watch. Like he said, he&#39;s a happy clown!<br/><br/>Between all the shots on the dicks, the Hitchcock mystery or the drugs use, this movie was very original and it just shows that you don&#39;t need alot of budget or material to make a movie that will catch your attention and made you think after.<br/><br/>It is also refreshing to watch a queer movie that is not about finding your identity or about love.<br/><br/>We need more projects between Sebastian and Jordan!!

When an overwrought, angst-ridden, drug addicted filmmaker (Sebastián Silva playing a fictional version of himself) unexpectedly meets a wacky, unhinged comedian/social media influencer (Jordan Firstman playing a fictional version of himself) at a gay Mexican beach resort, the troubled director does all he can to distance himself from his new acquaintance when he becomes interminably annoying, especially in his incessant, unfocused pitches for collaborating on a new movie project. But, when the financially strapped filmmaker returns to his home in Mexico City, he reluctantly relents on the comic&#39;s offer when all his other production proposals are turned down by would-be backers. He thus invites his new writing partner to come stay with him while they hammer out the script, but, upon his collaborator&#39;s arrival, he finds the director has mysteriously disappeared. What ensues is a humorous gay comedy-mystery in which clues about the disappearance slowly emerge. At the same time, however, the story also delves into some surprisingly mature and insightful themes, developments very much in contrast to the film&#39;s screwball narrative and its somewhat manic opening act. Writer-director Silva&#39;s latest thus presents viewers with an intriguing combination of plot elements that one might think shouldn&#39;t belong in the same picture but that work surprisingly well together. While it&#39;s true that the ending seems somewhat abrupt and that some segments run on a little too long (particularly in the first half-hour), with a few others that could have been omitted entirely, the majority of the material nevertheless holds together well, making for an entertaining, if somewhat offbeat, time at the movies. Sensitive viewers are strongly cautioned, however, that the film features numerous scenes with explicit depictions of gay male sexuality, so those who are easily given to offense may wish to pass on this unrated release. Those considerations aside, though, this is a film that&#39;s more than it might superficially seem, particularly the further one gets into the story. It&#39;s quite an eye-opening ride into a world that many may be unfamiliar with, but it&#39;s also one that simultaneously makes us laugh and makes us think - a rare combination to be found in the same picture, to be sure.