FRAMELINE: EVERYBODY’S GOT SOMEBODY… BUT ME

Everybody’s Got Somebody… But Me  {Todo el Mundo Tiene a Alguien Menos Yo}

( Todo el Mundo Tiene a Alguien Menos Yo )

It begins as a passionate affair—two beautiful women making out in cars and movie theaters, frolicking playfully in bed, applying each other’s makeup, drinking fancy martinis, and dancing wildly to live jazz. One blonde, one brunette; one younger, one older; one reserved, one impetuous—disparities appropriately presented in beautifully high-contrast black and white. But just as we are settling into the rhythms of their burgeoning romance, the dynamic quickly flips, and their relationship—along with the narrative arc of the film—switches gears. We go back to the moment they met, when Alejandra, a painfully shy and snobbish middle-aged woman, is the one being seduced by Maria, a brazen, vivacious teenager still dressed in her private school uniform.

Alejandra’s maturity in age at first belies her social awkwardness and insecurity, as she takes Maria out to expensive dinners and foreign films and tries to mentor her in the ways of culture and refinement. Maria is eager to soak it all in, but she is still very much invested in her life as a regular teenager—and the house parties and family commitments that go along with it. As Alejandra grows more paranoid and demanding of Maria’s time, it becomes clear that the challenges of their relationship go far beyond their age difference. With its unique narrative style, seductive cinematography, and eclectic soundtrack, director Raúl Fuentes’s feature film debut is a captivating and artful commencement.

Mexico, 2012, 100 min.
Director: Raúl Fuentes

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