Reir, Cantar, Tal Vez Llorar (Spanish) [To Laugh, To Sing, Perchance to Cry]

The film I recently viewed was profoundly disappointing in both execution and production quality. What could have been a compelling narrative about love and societal perceptions of immigrants instead came across as amateurish at best. While the core story concept showed promise—a transgender hairdresser in Barcelona forming an unlikely romance with a young Moroccan immigrant—the execution failed miserably across nearly every aspect of filmmaking.

Set against the backdrop of Barcelona, the story follows Toni, a transgender woman working as a hairdresser, who takes in a 20-year-old Moroccan man evading the police. As their relationship develops, they navigate societal judgment, nosy neighbors, and personal struggles—balancing work, rent, friendships, and fleeting joys. However, their romance ultimately unravels over a trivial argument, leading to heartbreak.

Regrettably, the film’s potential was squandered by poor execution. The acting was stiff and unconvincing, with only Toni’s performance showing slight competence. The direction was equally lackluster, with visible production flaws—fake props, awkward camera awareness, and wooden delivery from the cast. Numerous extraneous characters cluttered the plot without adding meaningful depth.

Had this been intended as satire or parody, its flaws might have been forgivable. However, as a dramatic work, it fell far short of expectations. Despite touching on relevant themes—classism, racism, transphobia, love, and urban marginalization—the film’s shoddy execution made it one of the most disappointing viewing experiences in recent memory. A wasted opportunity for what could have been a poignant and thought-provoking story.