QUICK’N DIRTY: LIVE FROM BERLIN

In his follow up to his Silver Bear awarded The Heiresses (2018), Paraguayan director Marcelo Martinessi shifts his focus to 1950s’ Asunción. Narciso (Diro Romero), the epitome of the Latino stud, returns from Buenos Aires and sets his sights on becoming a broadcaster on influential radio station Radio Capital, in a tumultuous period in Paraguayan history, which saw a slow dictatorial takeover. Narciso feverishly pushes to introduce new foreign rhythms, the sounds of rock-n-roll from the likes of Elvis, Chuck Berry and Little Richard to a thirsty youth, but a reluctant older generation. And thus, becoming an inadvertent symbol of freedom and progress to some, and a corrupter of morals to others.

Based on the titular novel by Guido Rodríguez Alcalá, Narciso is based the life of Bernardo Aranda, a Paraguayan radio DJ. Strikingly handsome, charismatic and aloof, he is aware of his allure, exploiting it at every opportune moment. Members of both sexes appear to succumb to his charm. The film is steeped in homoerotism mostly aimed at Narciso, for him to barely engage with it. Darkly light and sweaty, a smoky opaqueness shrouds every scene, with everything occur at night. Matters feel sexually charged but surprisingly very little sex, if any, is shown.

At a time when radio was so popular, live broadcasts had packed audiences. Radio Capital toed the line of appeasing the regime. The programme consisted of local music and radio soap operas. Narciso is clumsily ambitious, verging on the naive, as if his whole ‘love for rock-n-roll’ spiel will solve the country’s woes. Initially taken on as a new rookie by the station’s infatuated owner, the closeted Bermudez (Manuel Cuenca), who reluctantly loosens the reigns at Narciso’s persistence. Humorously Bermudez obsession sees him traverse through the city’s cruising spots, convinced he will find Narciso hustling, but to no avail. As the bombastic American sounds infiltrate the airwaves, Narciso’s public profile ascends, so does an inevitable backlash which will prove detrimental.

Narciso comes across as an ambiguous figure, never fully embodying the persona the film proposes him to be. The myriads of attributes this Casanova /cultural icon is supposed to possess are loosely depicted at best. There is at times a refusal to give him continuous screen time, to allow us to connect with him. In other moments he is completely omitted and instead the film preoccupies itself with distractions. Redundant sub-plots abound here, whether it be American diplomacy, the various sexual relationships, the looming political landscape or the workings of Radio Capital, all scantily engaged with, and ultimately failing to tie together into one cohesive narrative.

It is incongruent to keep matters shadowy and contained. The period details feel accurate and visually pleasing enough to salvage matters, somewhat but ultimately the result is something very light, opaque and superficial.

Narciso premiered in the Panorama section of the 76th Berlinale.