FROM AFAR/ DESDE ALLA
Venezuela, 2015, 93 minutes, Colour.
Alfredo Castro, Luis Silva.
Directed by Lorenzo Vigas.
From Afar has won a number of awards, especially in Latin America but also at the 2015 Venice Film Festival.
This is a Venezuelan film, set in the city of Caracas, utilising scenes in the centre of the city, the squares, shops, transport.
The title of the film refers to the central character, Armando (Alfredo Castro), a man in his 50s, living alone, who goes into the city, looking for young men whom invites to his home, asks them to strip, and then he masturbates, paying them off. When he tries to attract a young man, Elder (Luis Silva), Elder bashes him and robs him.
The film give some attention to Elder’s life, a hustler on the street, in a relationship with a young woman, bashing her brothers who in turn beat him. He then returns to Armando and they begin an uneasy relationship, especially when Armando cares for Elder after his beating.
Armando is an enigmatic man, a loner, although he does go to a celebration at his sister’s house for his niece, is called a faggot by Elder and others but denies that he is gay. He is also repelled by touch, especially when Elder approaches him. They seem to be companionable together, Elder inviting him to a dance where he meets his mother – but, again, Elder makes physical contact which Armando repels.
Finally, Elder approaches Armando, there is a sexual encounter, and Elder thinks it is a beginning of a relationship but, when he goes to buy bread, Armando rings the police and the final scene is of Elder being arrested, Armando gazing on, from afar.
The audience gazes at Armando close-up, at Elder from afar and then close-up – and the realisation that Armando is a controlling man, afraid of physical contact, using people even while he relates to them.
1. An award-winning film? From Venezuela? Social issues, psychological issues, sexuality?
2. Caracas, the city, the streets, the crowds, transport, homes, workplaces, bars, socials?
3. The title, Armando’s point of view? His gaze, the audience sharing his gaze – from afar and close-up?
4. Armando’s story, his age, living alone, never marrying, his relationship with his sister, her family, the children? His memory of his father, not beating him? In the street, the crowd, singling out the young man, following him, bringing him home, lowering his trousers, Armando masturbating? Then seeing him at work, his dentistry, the details?
5. His loneliness, sexual behaviour, declaring he was not gay, not wanting anyone to touch him, yet his gaze on the males? Elder, in the street, accosting, Armando taking him home, taking the money, heating Armando, wounding him, taking the statue?
6. Elder, his age, belonging to the gangs, hustling in the streets, his girlfriend and the sexual encounter, her brothers, beating them at the pool hall, their later bashing him? Wanting the car, the down payment, the promise to pay, buying the parts? Working on the car?
7. Armando and his interesting Elder, pursuing him, asking his whereabouts, paying for the information? Elder’s return, interactions with commando, discussions about what had happened?
8. Elder to being beaten, Armando taking him in, the care for him, the long time and recuperation? The effect? His appreciation and thanks? Searching and trying to open the safe? His attempt to kiss Armando, Armando repelling him? The car, Armando paying the bill?
9. The two together, companionship, on the rocks, at the dance, Elders mother, Armando withdrawing, Elder and his kiss, being seen, Armando repelling him? Elder being criticised and ousted as gay?
10. Elder at home with Armando, his sexual approach, the experience, the morning, Elder naked, not wanting milk, going to buy bread, in the queue?
11. Armando, the phone call, the police, and Armando watching the arrest?
12. Elder and his future? Armando, control, sexual power, physical/not physical, wanting subservience – and betraying Elder?
