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I wrote it to recall summers before the digital era no Instagram, no Wi-Fi. I guess I’m in both of my lead characters, Borja and Vicente.
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It’s a work that builds on memory and my growing up and having a pool and being a movie buff. I haven’t been slashed or involved in bloody scenarios. How much of this film is autobiographical, if at all?Īll of it and none. Perhaps the answer is that in both my films and in my books, I’ve been tackling non-fiction, memory, autobiographical subjects and “Cola de Mono” is quite personal. Or maybe the time has come to tell the tale. I didn’t feel I knew the actors who could help me. I wanted to do a sort of gay slasher art movie, my own type of Giallo. We don’t do many genre pictures in Latin America or those that are made are more commercial. “Cola de Mono” is very gay but it is also a genre picture. My other films concentrated more on a male flaneur, a certain type of loner who doesn’t connect. So, “Cola de Mono,” in that sense, is quite similar to my Nashville movie: “Música Campesina.” One has more sex and nudity but both tackle desire and longing and a certain loneliness. My gaze has always been on men, whatever orientation the characters have. There have always been slight references but all my movies are about guys who are different, who don’t belong. “Invierno” is clearly a bromance and the mystery of that movie is what sort of love and bond the two main heroes had.
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After all, I made a documentary on what I considered a very charged homoerotic movie that is Coppola´s “Rumble Fish.” Indeed, “Cola de Mono” is more explicit in many aspects but it is not a bromance, which most of my films are. I believe, as a gay artist, all my work has been filtered through both my male and gay perspective. In a certain way, it’s my first explicit gay film. What will change is the tagline in English, which will be: “Don’t drink it after midnight.” My distributor, TLA, really likes the title. “Cola de Mono” will be called “Cola de Mono ” “Eggnog” doesn’t quite cut it.