This is exactly the sort of wildly over the top 90s gay comedy that you really can't treat seriously, and honestly, that's basically why it works at all. If you go in looking for a fun little watch, a couple of laughs, and a willingness to just roll with how ridiculous everything gets, that's the best way to take it, because beyond that there really isn't much happening. The plot is paper thin, and every performance is pushed so far past normal that it feels like some kind of spoof, even if I couldn't tell you what, specifically, it's supposed to be spoofing. The film is set in Mexico City in the nineties and follows Enrique, an up and coming telenovela star. He's about to score a major contract with a production company, until they find photos of him with his boyfriend and realize he's gay. His dad can't accept having a gay son and, because of that, can barely even talk to him. In order to save the contract, the head of the studio proposes that Enrique pretend to be romantically involved with a fading pop star who's trying to make a comeback, and who also happens to be secretly sleeping with the studio owner. Enrique and the singer both go along with the plan, which obviously drives Enrique's actual boyfriend crazy. Then Enrique gets into a sudden accident and loses his memory completely, with no idea who anyone is. His dad uses that opening to slide back into his life, showing him tabloid stories and videos to convince…

This is an early-90s film, and that context genuinely matters when you watch it. It was probably fairly talked about in its day. It's a murder mystery erotic thriller that's somehow both dramatic and utterly ridiculous, and the sheer absurdity actually made me laugh a few times before I had to remind myself that logic clearly wasn't much of a concern for filmmakers back then. David, the central character, is deeply messed up and genuinely cruel, yet you still feel sorry for him because he's obviously a victim of sexual abuse who never processed any of it and instead inflicts that pain on everyone around him in the most horrible ways possible.The movie starts with the brutal murder of a naked man. We then meet David, a young man who has just left boarding school after a teacher dies, almost certainly the murder we have just seen. He arrives at his wealthy mother's beautiful oceanfront home to spend time with her and her boyfriend, Paul. They both keep trying to push David into socializing, meeting girls, and making friends, but he has no interest in any of it. Paul quickly realizes David is gay, whereas his mother simply refuses to acknowledge it. David begins spending time with a pair of hippie guys, already making both his mother and Paul uneasy, and when they start asking him for money and taunting him over his denial of his sexuality, he pushes them to their deaths. Paul becomes convinced that David is responsible, while the mother remains entirely oblivious. David later befriends Tony…

In Oaxaca, southern Mexico, the Zapotec people recognize muxes as a third gender, living out their identities in a non-binary way. Because Mexican culture is largely machista, muxes frequently take on caregiver roles, earning significant respect for both their contributions and their very existence. Rather than a standard movie, this film acts as a piece of visual art that immerses you in the actual experience of being a muxe. I cannot imagine another film that operates so much like a painting brought to life. It is a vibrant burst of creativity and culture, overflowing with life, love, and genuine heartbreak. Even if you do not walk away loving it strictly as a story, the sheer vividness and beauty of the visuals are undeniable. Centering on a community of muxes who challenge the binary concept of gender, the film tracks three individuals—Delirio, Amaranta, and Mariano—as they navigate their pasts, presents, and futures in search of what they lack. As the group's elder, Delirio mentors the younger muxes while simultaneously managing the solitary care of her aging mother and refusing to yield to the sexist, heteropatriarchal harassment from the men in her life; she also deals with a lover in Finland who sends letters but avoids any real commitment. Amaranta struggles with the rejection of her violent, angry father, who remains unable to accept his son's third gender identity, and her life is further marked by a lack of love, exemplified by a straight man who only visits when it is convenient for him. Meanwhile, Mariano is a teenager still discovering his…