The absolute worst thing I can say about "El Calentito" is it takes roughly 45 minutes to get to the pivotal plot development the story hinges on: the February 23, 1981, failed Spanish coup d´etat led by Antonio Tejero. On that day (also known as 23-F for the date), the Spanish Congress of Deputies was held hostage for 18 hours by Tejero; ultimately, no one was hurt and the coup was a failure. But enough history, especially since "El Calentito" requires the viewer to know this piece of Spanish history to fully understand the film, though never gives the information itself.
Regardless of what issue was at the center of the coup, the central theme of this film is freedom. Freedom to be who you are in whatever flavor you decide to be; freedom to do as you want without answering to anybody; freedom from fear and tyranny. And, once the production reaches it´s halfway mark, those themes become obvious. It´s the set up to the story which tends to grind on with no real aim in mind.
Sara is stuck in a conservative household where her mother rules with an iron fist. She lies to go out to a bar, the Calentito, to meet her boyfriend for, as her mother terms the act, "it." When she finds him in the arms (and pants) of another girl, Sara finds herself in the bed of a lesbian rocker, Carmen. Though she is straight, Sara is enchanted by the rock band The Suix and becomes their third member. On the night of their major record gig, the coup takes place, throwing everything the family of transsexuals, bisexuals, homosexuals and other malcontents holds dear into the path of a speeding train.
"El Calentito" nearly hits the audience over their collective head making its point about the value of freedom and the fear associated with taking it away. Even in the haven for this group of characters-the Calentito-the threat of that freedom being taken away is omnipresent during the coup. The most fascinating aspect of the film isn´t that it combines a real life event with fictional people to great effect; it´s how many different types of freedom are expressed in a hair under 90 minutes.
Of course, there is sexual freedom and gender identity freedom. There´s personal travel freedom and the freedom to do what you want despite the people who might tell you not to. There´s also the freedom to choose the way you relate to another person. The people in favor of the coup, like the old couple who live above the bar, even take their freedom of speech for granted as they first harass transsexual owner Antonia and then threaten the patrons with a loaded gun. One of the new rules broadcast over the airwaves by Tejero and given prominence in the film is where citizens can go and who they can go with. Groups must be limited to four people; no more than two can walk on the street together; and so on.
Compare his dictums with Sara´s mother, who bellows at the top of her lungs for the kids to join the family for dinner or demands Sara´s younger sister give up her passion for football (soccer in America) because girls don´t like the sport. As we see from the opening moments of the film, she is the dictator in the house, while the father sits idly by, presumably in order to keep from fighting with his wife. Taken deeper, she is a stand-in for Tejero, while the seemingly deposed king of Spain resembles Sara´s father. Only when they´ve both had enough does either of them stand up and demand to be counted.
"El Calentito" is a slow build in that we´re allowed to know the participants and the world they live in before the drama begins. Yes, we are thrown into the restrictive yet free household Sara lives in with an opening sequence which talks about blow jobs while showing Mom at her demanding worst. It certainly sets the stage for the film, but it just feels like it´s biding time until story structure warrants the coup to be introduced. In the meantime, though, the relationship between punk rocker Leo, lesbian Carmen and Sara is allowed to grow and mature from a need-Sara takes over for a former band member who has left-into a want-especially considering what Sara gives up to join the band fulltime for the gig.
Ah, yes, the gig. The event the entire film revolves around…except, of course, the coup. In order to secure their recording contract, the girls agree to play a live set in front of the music company exec. Easy, right? Furthering the freedom theme, Leo and Carmen clash over which songs to sing: one says they need to perform only "safe" music while the other wants to be herself. For Spain of 1981, this is a fascinating conversation if only because they never make the connection between their fight and the coup.
Every character and subplot furthers the central idea of freedom, which isn´t something many films do in our culture. Antonia, formerly Antonio, is berated constantly by neighbors telling her what a freak she is. Her own son, who has called her "Dad" for years, finally breaks free of societal norms.
Only two problems rear their heads in the film. The first, and biggest, is the lack of background material on the coup. Sure, the script does hit us over the head with the freedom theme every chance it gets and we should be able to draw the parallels instantly. However, for foreign audiences who weren´t alive in 1981 and don´t know about Tejero or Franco, a verbal reference to how the country used to be would have been helpful. Still, it is enough to know freedoms are being taken away from the people and some of them were scared.
The other problem, as already stated, is the coup doesn´t happen until halfway through the production. By the time the first radio reports come in, the audience is on the brink of not caring about the situation anymore. Knowing these people face the prospect of their lives being turned upside down and becoming not just societal outcasts, but also illegals in their own country, is a terrifying thought. On the flip side, the audience wouldn´t be emotionally invested in Sara, Leo, Antonia or anyone else. And that emotional investment is crucial to experience the fear running through every trip to the bar door on the night of the coup. We constantly expect the door to open, obstructed by a wall, and secret police of some kind to barrel in.
Distilled down to its barest threads, "El Calentito" is about rebellion, some of which is successful and some that isn´t. Sara´s journey as a girl yearning to do what she feels she needs to do parallels Spain´s lurching into democracy. Both are fraught with peril and imminent disaster, yet the primary players carry on, doing what they feel they need to do.
Regardless of what issue was at the center of the coup, the central theme of this film is freedom. Freedom to be who you are in whatever flavor you decide to be; freedom to do as you want without answering to anybody; freedom from fear and tyranny. And, once the production reaches it´s halfway mark, those themes become obvious. It´s the set up to the story which tends to grind on with no real aim in mind.
Sara is stuck in a conservative household where her mother rules with an iron fist. She lies to go out to a bar, the Calentito, to meet her boyfriend for, as her mother terms the act, "it." When she finds him in the arms (and pants) of another girl, Sara finds herself in the bed of a lesbian rocker, Carmen. Though she is straight, Sara is enchanted by the rock band The Suix and becomes their third member. On the night of their major record gig, the coup takes place, throwing everything the family of transsexuals, bisexuals, homosexuals and other malcontents holds dear into the path of a speeding train.
"El Calentito" nearly hits the audience over their collective head making its point about the value of freedom and the fear associated with taking it away. Even in the haven for this group of characters-the Calentito-the threat of that freedom being taken away is omnipresent during the coup. The most fascinating aspect of the film isn´t that it combines a real life event with fictional people to great effect; it´s how many different types of freedom are expressed in a hair under 90 minutes.
Of course, there is sexual freedom and gender identity freedom. There´s personal travel freedom and the freedom to do what you want despite the people who might tell you not to. There´s also the freedom to choose the way you relate to another person. The people in favor of the coup, like the old couple who live above the bar, even take their freedom of speech for granted as they first harass transsexual owner Antonia and then threaten the patrons with a loaded gun. One of the new rules broadcast over the airwaves by Tejero and given prominence in the film is where citizens can go and who they can go with. Groups must be limited to four people; no more than two can walk on the street together; and so on.
Compare his dictums with Sara´s mother, who bellows at the top of her lungs for the kids to join the family for dinner or demands Sara´s younger sister give up her passion for football (soccer in America) because girls don´t like the sport. As we see from the opening moments of the film, she is the dictator in the house, while the father sits idly by, presumably in order to keep from fighting with his wife. Taken deeper, she is a stand-in for Tejero, while the seemingly deposed king of Spain resembles Sara´s father. Only when they´ve both had enough does either of them stand up and demand to be counted.
"El Calentito" is a slow build in that we´re allowed to know the participants and the world they live in before the drama begins. Yes, we are thrown into the restrictive yet free household Sara lives in with an opening sequence which talks about blow jobs while showing Mom at her demanding worst. It certainly sets the stage for the film, but it just feels like it´s biding time until story structure warrants the coup to be introduced. In the meantime, though, the relationship between punk rocker Leo, lesbian Carmen and Sara is allowed to grow and mature from a need-Sara takes over for a former band member who has left-into a want-especially considering what Sara gives up to join the band fulltime for the gig.
Ah, yes, the gig. The event the entire film revolves around…except, of course, the coup. In order to secure their recording contract, the girls agree to play a live set in front of the music company exec. Easy, right? Furthering the freedom theme, Leo and Carmen clash over which songs to sing: one says they need to perform only "safe" music while the other wants to be herself. For Spain of 1981, this is a fascinating conversation if only because they never make the connection between their fight and the coup.
Every character and subplot furthers the central idea of freedom, which isn´t something many films do in our culture. Antonia, formerly Antonio, is berated constantly by neighbors telling her what a freak she is. Her own son, who has called her "Dad" for years, finally breaks free of societal norms.
Only two problems rear their heads in the film. The first, and biggest, is the lack of background material on the coup. Sure, the script does hit us over the head with the freedom theme every chance it gets and we should be able to draw the parallels instantly. However, for foreign audiences who weren´t alive in 1981 and don´t know about Tejero or Franco, a verbal reference to how the country used to be would have been helpful. Still, it is enough to know freedoms are being taken away from the people and some of them were scared.
The other problem, as already stated, is the coup doesn´t happen until halfway through the production. By the time the first radio reports come in, the audience is on the brink of not caring about the situation anymore. Knowing these people face the prospect of their lives being turned upside down and becoming not just societal outcasts, but also illegals in their own country, is a terrifying thought. On the flip side, the audience wouldn´t be emotionally invested in Sara, Leo, Antonia or anyone else. And that emotional investment is crucial to experience the fear running through every trip to the bar door on the night of the coup. We constantly expect the door to open, obstructed by a wall, and secret police of some kind to barrel in.
Distilled down to its barest threads, "El Calentito" is about rebellion, some of which is successful and some that isn´t. Sara´s journey as a girl yearning to do what she feels she needs to do parallels Spain´s lurching into democracy. Both are fraught with peril and imminent disaster, yet the primary players carry on, doing what they feel they need to do.
The absolute worst thing I can say about "El Calentito" is it takes roughly 45 minutes to get to the pivotal plot development the story hinges on: the February 23, 1981, failed Spanish coup d´etat led by Antonio Tejero. On that day (also known as 23-F for the date), the Spanish Congress of Deputies was held hostage for 18 hours by Tejero; ultimately, no one was hurt and the coup was a failure. But enough history, especially since "El Calentito" requires the viewer to know this piece of Spanish history to fully understand the film, though never gives the information itself.
Regardless of what issue was at the center of the coup, the central theme of this film is freedom. Freedom to be who you are in whatever flavor you decide to be; freedom to do as you want without answering to anybody; freedom from fear and tyranny. And, once the production reaches it´s halfway mark, those themes become obvious. It´s the set up to the story which tends to grind on with no real aim in mind.
Sara is stuck in a conservative household where her mother rules with an iron fist. She lies to go out to a bar, the Calentito, to meet her boyfriend for, as her mother terms the act, "it." When she finds him in the arms (and pants) of another girl, Sara finds herself in the bed of a lesbian rocker, Carmen. Though she is straight, Sara is enchanted by the rock band The Suix and becomes their third member. On the night of their major record gig, the coup takes place, throwing everything the family of transsexuals, bisexuals, homosexuals and other malcontents holds dear into the path of a speeding train.
"El Calentito" nearly hits the audience over their collective head making its point about the value of freedom and the fear associated with taking it away. Even in the haven for this group of characters-the Calentito-the threat of that freedom being taken away is omnipresent during the coup. The most fascinating aspect of the film isn´t that it combines a real life event with fictional people to great effect; it´s how many different types of freedom are expressed in a hair under 90 minutes.
Of course, there is sexual freedom and gender identity freedom. There´s personal travel freedom and the freedom to do what you want despite the people who might tell you not to. There´s also the freedom to choose the way you relate to another person. The people in favor of the coup, like the old couple who live above the bar, even take their freedom of speech for granted as they first harass transsexual owner Antonia and then threaten the patrons with a loaded gun. One of the new rules broadcast over the airwaves by Tejero and given prominence in the film is where citizens can go and who they can go with. Groups must be limited to four people; no more than two can walk on the street together; and so on.
Compare his dictums with Sara´s mother, who bellows at the top of her lungs for the kids to join the family for dinner or demands Sara´s younger sister give up her passion for football (soccer in America) because girls don´t like the sport. As we see from the opening moments of the film, she is the dictator in the house, while the father sits idly by, presumably in order to keep from fighting with his wife. Taken deeper, she is a stand-in for Tejero, while the seemingly deposed king of Spain resembles Sara´s father. Only when they´ve both had enough does either of them stand up and demand to be counted.
"El Calentito" is a slow build in that we´re allowed to know the participants and the world they live in before the drama begins. Yes, we are thrown into the restrictive yet free household Sara lives in with an opening sequence which talks about blow jobs while showing Mom at her demanding worst. It certainly sets the stage for the film, but it just feels like it´s biding time until story structure warrants the coup to be introduced. In the meantime, though, the relationship between punk rocker Leo, lesbian Carmen and Sara is allowed to grow and mature from a need-Sara takes over for a former band member who has left-into a want-especially considering what Sara gives up to join the band fulltime for the gig.
Ah, yes, the gig. The event the entire film revolves around…except, of course, the coup. In order to secure their recording contract, the girls agree to play a live set in front of the music company exec. Easy, right? Furthering the freedom theme, Leo and Carmen clash over which songs to sing: one says they need to perform only "safe" music while the other wants to be herself. For Spain of 1981, this is a fascinating conversation if only because they never make the connection between their fight and the coup.
Every character and subplot furthers the central idea of freedom, which isn´t something many films do in our culture. Antonia, formerly Antonio, is berated constantly by neighbors telling her what a freak she is. Her own son, who has called her "Dad" for years, finally breaks free of societal norms.
Only two problems rear their heads in the film. The first, and biggest, is the lack of background material on the coup. Sure, the script does hit us over the head with the freedom theme every chance it gets and we should be able to draw the parallels instantly. However, for foreign audiences who weren´t alive in 1981 and don´t know about Tejero or Franco, a verbal reference to how the country used to be would have been helpful. Still, it is enough to know freedoms are being taken away from the people and some of them were scared.
The other problem, as already stated, is the coup doesn´t happen until halfway through the production. By the time the first radio reports come in, the audience is on the brink of not caring about the situation anymore. Knowing these people face the prospect of their lives being turned upside down and becoming not just societal outcasts, but also illegals in their own country, is a terrifying thought. On the flip side, the audience wouldn´t be emotionally invested in Sara, Leo, Antonia or anyone else. And that emotional investment is crucial to experience the fear running through every trip to the bar door on the night of the coup. We constantly expect the door to open, obstructed by a wall, and secret police of some kind to barrel in.
Distilled down to its barest threads, "El Calentito" is about rebellion, some of which is successful and some that isn´t. Sara´s journey as a girl yearning to do what she feels she needs to do parallels Spain´s lurching into democracy. Both are fraught with peril and imminent disaster, yet the primary players carry on, doing what they feel they need to do.
Regardless of what issue was at the center of the coup, the central theme of this film is freedom. Freedom to be who you are in whatever flavor you decide to be; freedom to do as you want without answering to anybody; freedom from fear and tyranny. And, once the production reaches it´s halfway mark, those themes become obvious. It´s the set up to the story which tends to grind on with no real aim in mind.
Sara is stuck in a conservative household where her mother rules with an iron fist. She lies to go out to a bar, the Calentito, to meet her boyfriend for, as her mother terms the act, "it." When she finds him in the arms (and pants) of another girl, Sara finds herself in the bed of a lesbian rocker, Carmen. Though she is straight, Sara is enchanted by the rock band The Suix and becomes their third member. On the night of their major record gig, the coup takes place, throwing everything the family of transsexuals, bisexuals, homosexuals and other malcontents holds dear into the path of a speeding train.
"El Calentito" nearly hits the audience over their collective head making its point about the value of freedom and the fear associated with taking it away. Even in the haven for this group of characters-the Calentito-the threat of that freedom being taken away is omnipresent during the coup. The most fascinating aspect of the film isn´t that it combines a real life event with fictional people to great effect; it´s how many different types of freedom are expressed in a hair under 90 minutes.
Of course, there is sexual freedom and gender identity freedom. There´s personal travel freedom and the freedom to do what you want despite the people who might tell you not to. There´s also the freedom to choose the way you relate to another person. The people in favor of the coup, like the old couple who live above the bar, even take their freedom of speech for granted as they first harass transsexual owner Antonia and then threaten the patrons with a loaded gun. One of the new rules broadcast over the airwaves by Tejero and given prominence in the film is where citizens can go and who they can go with. Groups must be limited to four people; no more than two can walk on the street together; and so on.
Compare his dictums with Sara´s mother, who bellows at the top of her lungs for the kids to join the family for dinner or demands Sara´s younger sister give up her passion for football (soccer in America) because girls don´t like the sport. As we see from the opening moments of the film, she is the dictator in the house, while the father sits idly by, presumably in order to keep from fighting with his wife. Taken deeper, she is a stand-in for Tejero, while the seemingly deposed king of Spain resembles Sara´s father. Only when they´ve both had enough does either of them stand up and demand to be counted.
"El Calentito" is a slow build in that we´re allowed to know the participants and the world they live in before the drama begins. Yes, we are thrown into the restrictive yet free household Sara lives in with an opening sequence which talks about blow jobs while showing Mom at her demanding worst. It certainly sets the stage for the film, but it just feels like it´s biding time until story structure warrants the coup to be introduced. In the meantime, though, the relationship between punk rocker Leo, lesbian Carmen and Sara is allowed to grow and mature from a need-Sara takes over for a former band member who has left-into a want-especially considering what Sara gives up to join the band fulltime for the gig.
Ah, yes, the gig. The event the entire film revolves around…except, of course, the coup. In order to secure their recording contract, the girls agree to play a live set in front of the music company exec. Easy, right? Furthering the freedom theme, Leo and Carmen clash over which songs to sing: one says they need to perform only "safe" music while the other wants to be herself. For Spain of 1981, this is a fascinating conversation if only because they never make the connection between their fight and the coup.
Every character and subplot furthers the central idea of freedom, which isn´t something many films do in our culture. Antonia, formerly Antonio, is berated constantly by neighbors telling her what a freak she is. Her own son, who has called her "Dad" for years, finally breaks free of societal norms.
Only two problems rear their heads in the film. The first, and biggest, is the lack of background material on the coup. Sure, the script does hit us over the head with the freedom theme every chance it gets and we should be able to draw the parallels instantly. However, for foreign audiences who weren´t alive in 1981 and don´t know about Tejero or Franco, a verbal reference to how the country used to be would have been helpful. Still, it is enough to know freedoms are being taken away from the people and some of them were scared.
The other problem, as already stated, is the coup doesn´t happen until halfway through the production. By the time the first radio reports come in, the audience is on the brink of not caring about the situation anymore. Knowing these people face the prospect of their lives being turned upside down and becoming not just societal outcasts, but also illegals in their own country, is a terrifying thought. On the flip side, the audience wouldn´t be emotionally invested in Sara, Leo, Antonia or anyone else. And that emotional investment is crucial to experience the fear running through every trip to the bar door on the night of the coup. We constantly expect the door to open, obstructed by a wall, and secret police of some kind to barrel in.
Distilled down to its barest threads, "El Calentito" is about rebellion, some of which is successful and some that isn´t. Sara´s journey as a girl yearning to do what she feels she needs to do parallels Spain´s lurching into democracy. Both are fraught with peril and imminent disaster, yet the primary players carry on, doing what they feel they need to do.
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