Oscar Wilde once called homosexuality “the love that dare not speak its name” (technically, he was quoting his lover Bosie), and that’s the energy that infuses Duino, the debut feature from actor-turned-filmmaker Juan Pablo Di Pace (The Mattachine Family) and editor-director Andrés Pepe Estrada (Argentina, 1985). It’s a contemplative tale of lost gay love that never utters the words. Everything lingers in one missed touch.
Argentinian director Matias (played by Juan Pablo Di Pace) is struggling to finish a film based on his own youth. His perfectionism is causing problems for the whole crew. In flashbacks, we meet young Matias (Santiago Madrussan) as he moves to the Italian city of Duino and befriends a vivacious young Swedish boy, Alexander (Oscar Morgan). Their close friendship is torn apart when Alexander is expelled. In the present day, older Matias can’t find the closure he seeks in his film and is haunted by regret at never reaching out to touch Alexander when he had the chance.
After already picking up the Narrative Feature Audience Award at NewFest and Best Narrative Feature at FilmOut San Diego, Duino deserves an award for its casting. The younger and older versions of the characters blend seamlessly—without compromising the acting—strengthening the dual timelines. There is restraint in the storytelling that allows us to linger in the past without needless interruptions from the present, but confidence comes when the film leaves the heartbreaking events of youth behind.
As co-writer, co-director, and star, Di Pace holds the movie together beautifully and does not disappoint. Loosely based on his own experiences, there is a palpable sense of authenticity to Duino, even in its more glamorous moments. Some lovely directorial and editorial choices subtly remind us of the links between past and present, and the boys that these men once were. The outburst of emotion may differ between them, but the impact remains the same for both.
Cinematographer Devin Doyle captures the action with a rich, handsome lens. There is a freer, organic style in the heady 1990s scenes which gives way to a smoother, cooler approach in the adulthood segments. A series of stunning locations and architecture give Duino a truly cinematic feel, aided by Marta Beatriz Maineri’s sumptuous production design. Spanning from Italy to Sweden, this film looks as gorgeous as its cast.
A raft of carefully considered, nuanced performances fills the screen, constantly tugging at your emotions. A scene-stealing appearance by Industry’s Sarah Parish as Alexander’s mother injects a fresh energy into the second act before events switch back to present day. The only casualty of the dual narrative is the gradual loss of Madrussan and Morgan, who are magnetic as the younger Matias and Alexander, fueling their scenes with enough charm to power a YA Netflix series for years. When the focus shifts back to the older—but no less emotional—Matias, their absence is felt. As it should be; the film is, after all, about lost youth.
Di Pace and Estrada keep the film simmering at a low heat, never letting it reach a boiling point. If you’re in the mood for something more fast-paced you may be left wanting, but for me the film’s gentle tone and stunning visuals were intoxicating. For those who love to indulge in a melancholic mood, Duino is an irresistible treat.
By Chad Armstrong.
Duino receives its Sydney Premiere at Queer Screen’s 32nd Mardi Gras Film Festival in Sydney on Sunday February 16th, with actor and filmmaker Juan Pablo Di Pace appearing at a Q&A following the film. Head to queerscreen.org.au for tickets and more information.
Leave a Reply