来自网友【killMAXIE】的评论Gabriel是Juan的新同事，为了工作的方便，Gabriel搬进了Juan的家。虽然两人的日渐接触，他们也彼此吸引。从刚开始的偷偷观察，再到触碰以及sex，放佛一切都朝着恋人的方向发展。可是对身份的焦虑，害怕外界的声音，以及对感情的认识让他们终究还是选择了分开。两人之间的关系是随着居住的时间增长而逐渐变得亲昵的。从刚刚开始的各种形式的偷窥，透过门缝，透过橱窗，透过他人的眼睛，两人都对彼此产生了浓厚的兴趣。而偷窥过后，就开始付诸行动，Gabriel触摸Juan敏感部位但对方没有反抗，让他们彼此之间也逐渐了解对方的意思。随即他们迎来一夜又一夜的激情，放佛对方都是自己的真命天子。虽然Gabriel信守承诺，并且和相处已久的女友出柜分手，都只为等待Juan的点头示意。可是Juan当着他，或者偷偷咪咪的和他人寻欢作乐，乱搞。这无疑给Gabriel造成了巨大的打击，让他不断的质疑自己，我真的要继续下去吗。Juna之后也互诉衷肠，表明他不可能和Gabriel在一起，因为他也想要一个正常的生活，他想要结婚生子，像一个世俗眼中的正常人一样。淫乱态度加上对他人感情的模式，Gabriel选择了离开Juan。。但是面对自己女儿的时候，虽然童言无忌，可是Gabriel还是把Juan当作心目中的男友一般。事实上，Gabriel和Juan对彼此之间的感情都是很模糊的。可是随着剧情的发展，Gabriel的感情逐渐明了，虽然是以sex开始的关系，可是落脚点还是love。他想要的不仅仅是xing爱，他想要的是打心底里的爱，一种可以维持两者之间关系的爱。所以他做了充足准备，和女友告别，和女儿出柜，这一切都是为了和Juan在一起。可是抵不住Juan的情感更加复杂。Juan其实就是想Friends with benefits啊，其实蛮双标的，现实生活中我会觉得这样的人是渣男。既想和男生维持肉体关系，但是却又害怕被发现，所以不敢公开宣扬和Gabriel在一起。选择逃避的人终究无法得到感情上的满足，而勇敢的人面前，等待着的，是一个又一个感情的关系。其实看完电影，我觉得有一点幻视《灰度灰》，并且都是西语电影。灰度灰 (2015)6.52015 / 智利 / 剧情 爱情 同性 / 克劳迪奥·马尔科内 / 塞尔吉奥·埃尔南德斯 埃米利奥·爱德华兹一个是在阿根廷，另一个是在智利。镜头语言放佛也是灰蒙蒙的，有一次薄薄的滤镜一般。并且故事情节和人物角色的塑造都几乎类似。都是一个同性恋一个是双性恋的组合。而本电影不同的是，Gabriel已婚有女妻子离世，自此成为了同性恋。Juan是双性恋，男女皆可。可是《灰度灰》确实，一位双性恋有老婆有孩子，而另一位是彻彻底底的homo。结局都是bad ending，以两对看似佳偶终成眷属的couple的分离而结束。而造成这种分离的根本原因，确实相似的。大概是有2个点，第一是社会的不认同。第二是自己身份认同的焦虑。从社会层面上来讲，本电影从友人口耳相传的话语我们可以看到，无论是对男同学录还是女同学录，阿根廷社会都有一种不友好的态度。社会层面的鄙夷，让彩虹群体得不到发展，进而害怕和疏于表达自己。第二对于身份认同的焦虑。其实是依托于第一点。阿根廷社会传达的正常生活，和世界几乎所有国家所倡导的是一样的，一夫一妻有孩子。在这种社会达成共识潜移默化的影响下，即使是双性恋也会偏直，这也是Juan为什么选择不出柜（害怕，和绝对有一个normal生活的原因（社会共识。另外一个值得探讨的点我觉得是对感情的态度吧。这两位互相吸引的男子，对待感情几乎是截然不同的。Gabriel有一点在一棵树上吊死的态度在，所以他拒绝了GF并且和其中一位家人出柜。而两外以为不知道是故意的，还是无意的，也有可能是单纯情商低。即使Gabriel在自己的眼前，也要寻欢作乐。这定然会对他人的感情造成伤害，当感情降到一定程度，离开放佛是必然选择。所以Gabriel选择了离开，选择了离开这个会回归正常生活，不会和自己在一起的男子。有点像Girls，Just want to have f**k。哎呀，说的那么多，其实Juan就是渣男啦。Juan鼠了。
来自网友【他他】的评论Argentinian queer filmmaker Marco Berger’s 6th feature, THE BLONDE ONE is a slo-paced, blue-collar romance between two collegial men, Gabriel (Re) and Juan (Barón), Gabriel is the blonde one, a reticent single father, renting a room from his coworker Juan, while his school-age daughter Ornella (Irusta) stays with her grandmother. A decade after his debut feature PLAN B (2009), Berger has asserted oneself as a supernal intimist in configuring the game of seduction. Juan, a virile, both-ways-swinging satyr, finds Gabriel a low-hanging fruit and proceeds with his tried-and-tested titillation swimmingly, knowingly stoking Gabriel’s thigh on the sly, appearing dishabille in front of him accidentally on purpose, gazing him too long with his lip-smacking gaze. A reactive Gabriel absorbs all the signals in full, it is a matter of time that the two consummate their carnal knowledge, short of 35 minutes into the movie, Gabriel yields to Juan’s provocative suggestion, but it is always the nonplussing and awkward post-coitus moments that eke out the intrigue which is crucial to keep audience hooked in this gradualistic probe into the delicate equilibrium between two men who are sexual bedfellows.Everything happens in THE BLONDE ONE has a whiff of banality which has been percolating the queer cinema since the millennials, if one doesn’t resort to surrealistic flourishes. Personal coming-out struggle slowly gives way to a more introspective look on the interactive nature of sustaining a relationship, often under an extrinsically jaundiced milieu. And on the regard, Berger’s film cleaves to that realism at heart, being a story preponderately confined in the unprepossessing apartment, its camera sticks to its garden-variety naturalism and withholds any bold gestures. Totally in sympathy with Gabriel’s quiet, observational viewpoint, which means a viewer is better to be psyched up to immerse oneself into the slowly panned-out plot, where emotion weight will soon encroaches the blasé happenstances. Gabriel’s passive presence (his nickname is Dummy) is the dominant perspective that makes THE BLONDE ONE a gay drama with a difference, and Re makes most of his soulful look to elicit maximal tendresse in our hearts. His Gabriel’s introvert disposition isn’t a bottled-up gimmick, but a truly entrenched personality that doesn’t change through any turbulence. That said, in the pursuit of that elusive thing call love, the blonde one is also the braver, truer one, and Berger’s open-ended coda ingeniously freezes on the smiles of the intimate father-daughter duo, all’s well that end’s well, that illuminating hopefulness is just what the doctor ordered. referential entries: Berger’s PLAN B (2009, 6.4/10); Andrew Haigh’s WEEKEND (2011, 8.1/10); Lucio Castro’s END OF THE CENTURY (2019, 7.8/10).
