Undertow is an unusual, nuanced and daring debut

It can’t be easy being bisexual in a small fishing village in Peru, and Javier Fuentes-Leon’s first feature tells us exactly why. The well-respected Miguel (Cristian Mercado) has a pregnant bride (Tatiana Astengo) and fusses around her with fatherly pride. But he is also attracted to Santiago (Manolo Cardona), a visiting painter who has been virtually ostracised by the locals because they have guessed he is gay.

When Santiago drowns in a tragic accident involving the sea’s strong undertow, his spirit returns to make love to Miguel. He is the only one able to see his lover and thus free to express his burgeoning feelings without fear. But only when Santiago’s body is found and buried can his spirit be freed from torment.

Magic realism seems to be the appropriate way to describe Undertow but it is as much about Miguel coming to terms with his sexuality, and with the conservative community’s acceptance, as a ghostly tale. And it ends with a moving burial scene that underlines everything that has gone before.
Fuentes-Leon takes no sides. Instead he carefully explains the dilemma facing the three principal characters without any false dramatics. He doesn’t push the envelope too far but this is still an unusual, nuanced and daring film, particularly considering the country it comes from.

Undertow (Contracorriente)
Cert: 15