Yosvani’s closest friend and teammate is Reinier (Reinier
Diaz), whose poverty is immediately apparent as he looks for food in his
apartment, and a woman’s demands of “Where
is my radio” go unanswered. It’s clear he’s had to sell it. (Later we see
him purchase the radio back, getting it out of hock, showing he had to sell it
out of necessity and not out of any sort of selfishness or unkindness.) He has
a wife and child to support, and does so by meeting men at a pick-up spot.
Interestingly, the first time we see him at that spot, he
meets a man from Barcelona and they talk a bit about soccer, which immediately
has Reinier opening up to him. It’s not the typical pick-up scene. But later
when Juan, the man from Barcelona, attempts to take things to their logical
conclusion, Reinier stops him, saying, “I’m
not a fag.” What is also interesting is that his wife and Teresa (his
wife’s grandmother) are well aware of how Reinier makes money, and Teresa is
even encouraging.
I love the realistic feel of this film, the way the
camera follows its subjects, almost as if letting their movements determine the
shots. It gives a small sense of freedom to the characters, while at the same
time they feel quite contained within this world. This film creates a very believable
environment. You can almost feel the heat of the place. Part of that is due to
the excellent performances of the entire cast.
Reinier and Yosvani meet at a club, and Yosvani neglects
to introduce Gema, so she’s forced to do it herself. It’s quick and subtle, but
telling. The courtship between Reinier and Yosvani begins awkwardly, as alcohol
and pills strip away inhibitions (pills supplied by Gema), but it’s not long
before drugs are not needed. And I love the scene where Reinier and Yosvani
first become intimate. The camera stays close on Yosvani, on his face, but from
just over his shoulder, and we see Reinier’s hand touching the back of his
head. It’s so intimate and honest, and immediate. And the smile Yosvani finally
gives is beautiful.
What I love is that after that, we see them with their
women, and it’s clear they love them. That scene isn’t really awkward, but is
sweet and loving, with the four of them together at the beach, and at an
amusement park. This isn’t one of those films where there’s some sudden
realization and then everything changes. It’s more like this added element is
incorporated into the whole.
Things also feel like they move at the right pace. There
is nothing rushed here, but there is most certainly an increasing tension and
the feeling that something is going to go wrong. This film creates very
interesting and well fleshed out relationships, including that between Reinier
and Juan. And it is within these relationships that the film is often
surprising. I really wasn’t sure how things would turn out for anyone.
By the way, there is one weird shot where someone outside
is sneaking around with a camera. It’s brief, but unmistakable. Is it
paparazzi? I’m curious.
The Last Match
was directed by Antonio Hens, and was released on DVD on July 7, 2014 through
Canteen Outlaws and TLA Releasing. The DVD includes the film’s trailer.
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