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First, the Recap:
Inhibitions. Restraint. Suppression. Admit it, we DON’T like to be held back, much less otherwise told that WHO we are is some kind of aberration that makes us an outcast. While choices we make do so often define us, does that have to entail being seen as a pariah, even WHEN others may not agree with our inclinations or proclivities? In the shadow of this magnitude of community, even societal, excision, do we firmly remain steadfast and discover the means to simply let ourselves BE free? In Columbia, Margarita (Saray Nohemi) confronts these challenges due to her orientation. Seeking out Salsa dancing as a cathartic release from it all, she comes upon a tourist, Liana (Isabelle Troup), who’s not only visiting, but has a challenge of her own to contend with–she’d deaf. But, can the spark of music and growing infatuation still bring two worlds together?
Next, my Mind:
It is the dynamic, influential, bold, pronounced, universally known, undeniably overwhelming, unifying power that is music colliding with the equally potent elegance that comprises the beauty our human senses allow us to experience that drives the impactful core themes of this affecting and superbly executed 14-minute short film from writer/director Antonina Kerguelen, producers Carlos Ruiz Rua, Naty Aguadelo Campillo, and Carlos Mican, plus associate producers Alejandra Bolivar Sanchez, Andres Rangel, and Ahumada Films, selected to be part of the 2024 Tribeca Film Festival, with screenings on Friday June 7th at 9:15 pm, Monday June 10th at 8:45 pm, and Saturday June 15th at 8:30 pm, the first and last at the AMC 19th St. East 6 with Monday’s showing at Village East by Angelika. Even as the relational foundations of the story presented are rooted in the LGBTQIA+ realms, it ascends far above this and grants the viewer a tale which should SPEAK TO US ALL when it comes to the strength of, yes, attraction but ALSO basic connection as PEOPLE and the compassion we should be immersed within.
The narrative that sees a local Columbian woman having to endure the judgmental scrutiny and sense of complete excommunication from her community due to choice of sexual orientation who then, in turning to traditional Salsa music to unwind and feel necessary release from it all, ends up meeting a tourist passing through who has her own degrees of personal struggle yet also exudes a both an innocent vulnerability yet wholly confident demeanor that draws them together is played out with a perfectly grounded stylistic and visual approach which fully cements the film’s intent solidly in your mind and keeps you engaged throughout. This critic must yet another time (as in my recent review of “Original Skin“) declare that what I admire, applaud, and give absolute credit to Kerguelen for is that there isn’t a compromise of the film’s LGBTQIA+-based characters or leanings as purposed, yet doesn’t exactly throw it in your face either. It’s a study in evident but subtle direction in how it all is displayed/revealed and unfolds, PLUS it doesn’t remotely take away from the subsequent lessons the film teaches, hence the fuller, greater relatability factor it creates.
Honestly, what struck me the most here was the manner in which the aforementioned gist of the narrative is conveyed is how it turns into a deftly presented study of just how empowering MUSIC is, and the linking of so many of our innate emotional responses TO it that can be encompassed when truly embraced. The beats and style of this the film wonderfully employs inexorably sweeps you away like it does our two key characters, forming an almost living, “breathing” character of its own, eliciting the same degrees of stirring investment within us as it does for them, at least in this critic’s opinion. Additionally, it’s also how the film chooses to depict the ways in which these two people from totally separate worlds can be made to embody each other’s longing for acceptance, kindness, GENUINE understanding, and heartfelt emancipation in SPITE of all around them that are frowning upon who they represent under blatantly discriminatory and judging eyes, the culmination of which ends up being the wonder of a blossoming, carefree romance that lends that exhilerating punch the music ends up accompanying so efficaciously.
As I happened to have stated in another recent and entirely musically-inclined film review for the documentary “We Thrive“, music is medicine, a healer, it’s a palpable force for impactful experience within the heart, soul, mind, and body, and that’s what comes across in this film to a “T”. How MOVEMENT, dance, is utilized here is also just amazing in the depths of emotive fervency it ushers forth. Religion, those with disabilities and their worth because they too are PEOPLE, the sting of undue presumption and rebuke from misguided viewpoints, the necessity of having the willingness to stand firm in who you are despite hurt and frustration, the tangible and building thrill of newfound enchantment with another, and even just that baseline acknowledgement of someone else overall, it all has its moments here and again brings about an awareness-raising ambiance amidst the drama and ardent facets of the narrative. You are MEANT to FEEL something, folks, and the film does this quite competently.
Nohemi is a portrait of both emotionally battered victim but also definitively defiant “rebel” through her performance as Margarita, a beautiful but disregarding or otherwise virtually disavowed resident of a small, religiously centered community that has no love for her orientation, condemnatory eyes upon her almost anywhere she goes. With the desire to flee these attitudes, Margarita has that through dancing and losing herself in Salsa music, its rhythms freeing her in a way nothing else seems to. But, things change upon unexpectedly meeting a tourist named Liana, whose deafness actually aids in a fresh way to allow Margarita to become teacher and companion, which only grows as she realizes this is an even grander opportunity for her to BE who she is and disregard anyone around who disapproves. It’s an understated but so inherently fiery energy that Nohemi bring to bear throughout her role, and it is the lynchpin that makes the story so credibly engaging and meaningful.
This, however, is not to at ALL take away from the other primary star performance here as provided by Troup, in a first time acting role no less, through her turn as Liana, a tourist who happens to be coming to the same town in which Margarita resides. Dealing with those who aren’t always clear that she’s deaf, and getting initial hesitations from those who find out at first, Liana seems like a true fish out of water until happening upon the local nightclub she does and chooses to stop by and first encountering Margarita, a stranger who takes the time to notice and interact with her. While this beginning appears innocent and unassuming, the bond between them, even at the pace it becomes evident, causes Liana to open up and allow herself to be taught and then subsequently caught up in the rapport they’ve now established. Again, it’s an exhibition of controlled, largely implied, but then conspicuously apparent ardor between them that propels the newly developing relationship ahead, and how Troup navigates the character through the shifting moods and stages of their courtship is beautifully charming, endearing, believable, and accessible.
Additional key supporting appearances are made by Jhon Fredis Simarra, Gabriel Gonzales, and Bartolo Cogollo. So, in total, to the strains of Carolina Gaitán, Juliana, La Pambelé, and Orquesta Calibre, “!Salsa!” carries itself with creative, uncomplicated, resolute, unwavering, and winning ambition to evoke the magic of music and movement as an escape physically and emotionally from an errant world and its prejudices while also giving us the added delight of what we as human beings need to epitomize and strive so deeply for, no matter what your perspective may be about anyone’s orientation–the ability to not only just BE, but love others and, ideally, find that we can, and WILL, be loved back.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
