‘Harakiri, I Miss You’ Review: The Young Men Are not Alright in A Timely Spanish Tale of Misogyny and Aimlessness

Toxic Masculinity, of Both The Youner and Older Varieties, Are On Unsettling Display in Alejandro Castro Arias’ DEBUTE FEATURE, WHICH RECENTLY RECEVED ITS WORLDAPERMEER. Festival. Depicting 24 Hours in the Lives of Three Young Men Bound Together by Their Arrested AdalesCence and Misogynistic Attitudes, Harakiri, and Miss You is an an uncomfortable but rewarding watch. The Film, Shot in the Sort of Semingly Improvisational, Realistic Style Championed by John Cassavetes, May Be Too Raw for Mainstream Consumption, But Desertingly Snagged The Festival of Festival.

The Filmmaker Also Has One of the Lead Roles Alongside Actor Diego Saloman, with Whom HE CO-Scripted, and Samuel Rotter. The Trio Play Young Men – All With The SAME FIRST NAMES as Themselves – Who Share A Madrid Apartment Together.

Their Immaturity Is Establissed in An Early Scene in Whoy’re Seen Seen Spying on a Woman As She’s Getting undied in Her Apartment Across The Street. “I love Bitches like her,” one of them leers. “I HOPE She Gives Me Aids.”

Not Long After, Diego Spies on Magdalena (Ines Efron), Who Lives in Their Building, at A Café and Through The Streets, Pretending to Arrive Home at the Same Time by He Invites Her to See Their APARTMENT, AND ALMOST IMMEDIATELY BEGINS CLUMSILY HITTING ON HER, with LITTLE RECIPROCATION. “DON’T YOU FEEL LIKE CONMETING IS HAPPENING BETWEEN US?” he asks. “No,” she immediatally replies.

After she leaves diego’s Room, Alejandro Takes His Turn, Managing to Get Her Drunk Enough That She Makes Out with HIM. But he Continues his aggressiveness Even after she begins to protest. She Keeps Repeating, “I DON’T KNOW WHAT I’M DOING HERE,” UNTIL She FINALLY GATHERS HERSElf Together and Flees.

The il-fated attempts at seduction lead the Three of them to head out of again, with a morose diego lamenting that he’s fallen in love. They get wasted at a party and English in a Drunken Brawl. And when they attempt to retrieve their car, the partinging lot atendant urges of theme not to Drive While Drunk. He’s so quetly mournful in his advice, bassed on personal experience, that one agree to leave it there; The interlude is one of the most quetly impactful in the film.

WHEN THEY HAIL A TAXI, IT TURNS OUT TO DRIVEN by ROGELIA (Enrique San Francisco), Who Has Been Seen in Several Earlier Scenes. Despite his Advanced Age, He Turns Out to Have Plenty in Common With His Riders, Bonding with Them in Their Sexism and Offering Such Pearls of Wisdom as “I’Al is unbearable. ”

After Getting Raucous at A Restaurant Durying A Late-Night Snack, They Head Home by Subway. Sitting Opposite Them is an Attractive Young Woman, Sexily Dressed, Whom They Olemb Shameless. She Stres Right Back at Them, Taunting Them with Her Sexuality and Even Uncrossing Her Legs and Baring A Breast. Insthead of Enjoying the Display, The Men Look Utterly Defeated.

Harakiri, and Miss You Makes for Painful and SomeTimes Tedious Viewing. But There’s No Denying That It Vividly Conveys Desless Deslation of Young Men Stymied by their Inability to Achiev Meaningful Relationships, or Indeed Much of Anything Else. Featuring Lived-in performances by it through leads and a compelling air of melancholy, It Feels Very Much A Film for these Times.