Seré breve al momento de morir (Spanish) [Dying Briefly]

This Mexican dance drama carries a distinctly raw, homemade aesthetic, yet fails to deliver on its evident artistic aspirations. The production’s excessive earnestness results in narrative confusion, leaving viewers questioning character motivations and plot developments. While the premise shows promise, the underdeveloped characters prevent meaningful emotional engagement with their psychological journeys. The potential love triangle dynamic, intertwined with professional rivalry, remains frustratingly unrealized.

The story follows Sebastian and Arsenio, two dancers who meet during ballet auditions. Initially dismissing their mutual attraction, they eventually form a passionate relationship, supporting each other’s careers and moving in together. Their dynamic shifts dramatically with the arrival of Mikael, a new choreographer known for his exacting standards and questionable interest in younger male dancers. As Mikael showers attention on Sebastian, Arsenio’s justified jealousy intensifies – particularly after Mikael dismisses Arsenio’s close friend (who harbored secret feelings for him) from the lead dancer position. In a desperate bid for the coveted role, both men attempt to seduce the choreographer, but Mikael remains fixated on Sebastian. When Sebastian ultimately secures the lead role, the ensuing professional jealousy escalates violently, culminating in a brutal assault by the male dancers – orchestrated by Arsenio – just before the premiere.

The film initially portrays the central couple’s charming relationship with convincing chemistry, effectively contrasting their personal bond against mounting professional pressures. The introduction of Mikael as the manipulative choreographer creates compelling tension between ambition and integrity. Despite their vows to keep work conflicts separate from their relationship, the characters succumb to destructive professional rivalries in disturbing fashion. The narrative thoughtfully examines the complex interplay between personal and career aspirations, while exposing the predatory behavior of those in positions of authority. Mikael systematically exploits his power over the young dancers, creating a toxic environment where Arsenio turns the company against Sebastian, who himself develops a troubling dependence on the abusive choreographer.

The lead actor portraying Sebastian delivers a standout performance, skillfully balancing innocence and ambition. His nuanced expressions – alternating between intense affection and resentment toward Arsenio, coupled with vulnerable admiration for Mikael – demonstrate impressive range. Both principal dancers excel in their physical performances, while the actor playing Mikael effectively creates discomfort through his predatory presence. Despite these strengths, the film’s execution often feels unpolished. The promising thematic material ultimately suffers from shallow character development and a lack of emotional resonance that might have connected more deeply with audiences. With stronger character arcs and more sophisticated storytelling, this project could have achieved greater impact.