Ocho (Juan Barberini) has just arrived in Barcelona – he was in Madrid for business, and has decided to take some time to explore the beautiful European architecture and culture. However, it isn’t long before he is on the prowl for a companion to pass some time with. He spots Javi (Ramon Pujol), and the two strangers begin a brief anonymous sexual encounter that doesn’t mean much at first. However, in the hours after their rendezvous, Ocho and Javi find themselves feeling something far more complex than just the carnal satisfaction from a brief encounter. They reunite later that evening, and discover something that surprises them both – not only are they incredibly enamoured with the other, but they’re not strangers at all, having met twenty years earlier in this very city. Both men were still questioning their own sexuality at that point, but they found themselves feeling so at ease with the other, it was impossible to not surrender to temptation and begin experimenting. Now two decades later, they’ve grown older and wiser, but still carry the same profound curiosities they did when they were younger men seeking answers. Suddenly, they’re thrown back into their youth, and begin to find the answers to decades-old questions, which have been eroding at them since they first fell in love. However, everything isn’t quite what it seems – can friends become strangers, or are we perpetually bound to carry a piece of everyone we encounter with us as part of our humanistic journey?

There exists a sub-genre of romance film that sees two individuals in some foreign city (normally somewhere in Europe) encountering each other by chance and growing close over a short amount of time, which inevitably leads to them falling deeply in love. End of the Century (Spanish: Fin de siglo)is one of the most recent entries into this canon of lovelorn storytelling, with Lucio Castro crafting one of the most incredibly poignant screen romances of the past few years. An undeniably simple film, both in its premise and the execution of some deeply meaningful ideas, this is a work of untouchable beauty, a powerful manifesto on both time and desire, in which the two interweave and come together to form a striking portrait of two wayward individuals searching for some elusive understanding of not only the world around them, but themselves as well. Castro adds some potent commentary on the subject of identity as well, compounding even more nuance onto an already hauntingly beautiful work of metaphysical romance, resulting in yet another incredible work of romance that may sacrifice some ambition for the sake of lucidity, but demonstrates how absolutely necessary such a trade was, since Castro’s work is unquestionably impactful, and a worthwhile entry into the canon of queer romances that explore so many different issues through the guise of such a simple and effervescent relationship. In short, End of the Century is an absolutely staggering work that never becomes too tangled in its own beauty, resulting in an irresistibly meaningful work of fiction that feels so incredibly natural and earnest, and truly unforgettable in a multitude of ways.

End of the Century is a film built on simplicity – there’s a complete lack of anything that could be perceived as misguided audacity, since Castro was instead focused on evoking very human themes through actively engaging with some familiar ideas in a way that feels authentic. The refusal to abide by conventions is risky, but when guided by an assured filmmaker, the results can be quite remarkable. The first ten minutes of the film are conducted in near-silence, without any dialogue or language to be found anywhere – the film is set in Barcelona, but it could have easily been situated in any city, since the sense of displacement that persists throughout is key to understanding these characters. It’s only as we gradually progress through this film, and watch as the characters get to know each other that we learn the necessary details, with Castro infusing the right amount of restraint into every scene, saying just enough to keep us invested, but still not neglecting the insatiable curiosity he is able to evoke with the most simple use of allusion. We gradually grow to love these characters ourselves, each of their movements and expressions coming from a place of distinct understanding (enormous credit must go to Juan Barberini and Ramon Pujol, both of whom are absolutely astonishing in the leading roles, carrying the film with such authentic elegance). The decisions made by Castro are sometimes slightly more obscure than one would expect – especially after the pivotal revelation is made midway through the film – but they dovetail in ways that are both unexpected and absolutely genius. Each moment in this film feels truly essential, almost as if the director was weaving together a delicate tapestry of love, each stitch being entirely necessary, or everything else would not work nearly as well.

There have been some comparisons drawn between End of the Century and Richard Linklater’s Before Trilogy, particularly in how they’re both stories of strangers meeting and falling in love over the course of a single day. The difference here is that Castro’s film is driven by dialogue as well, but compounds some additionally abstract ideas onto the proceedings, creating a sensational portrait of a very distinct kind of romance. This is a film that thrives on its authenticity – everything about what Castro is saying here resounds with a kind of unimpeachable naturalism and honesty, and even at its most experimental (such as when it openly tinkers with the themes of identity and its relationship to the progression of time), the film manages to say something absolutely essential and fascinating. Despite its humble appearance – being both a very intimate film that mainly takes place in a few minor locations, and a short work that clocks in at only 84 minutes – entire worlds are contained in End of the Century, with so many ideas finding their way through this story, it takes additional viewings to capture all of it. The most prominent theme is obviously that of identity – the story of two men reuniting without realizing it (or so it would seem) twenty years after their first meeting, with their flirtations with sexuality causing them to question their own existence is one that immediately draws attention to some very resonant themes, whereby Castro is exploring the depths of the human soul, through the guise of an intimate romance that is far more than meets the eye. It’s a deeply layered work that feels simultaneously towering and sincere, which is a difficult combination, especially for an independent debut film.

Despite its flirtations with complex subject matter, End of the Century is a delightfully straightforward film, one that functions as a beautifully romantic exploration of themes that should resonate with everyone to some degree. It isn’t always clear where this film is heading at times, but this is all part of the wonderfully layered mysteries that Castro infuses into every frame of the film. There are moments of genuine charm peppered throughout the film, along with stunning scenes (one in particular, where the two leads dance to “Space Age Love Song” by Flock of Seagulls, is a genuinely joyful moment and probably the most gorgeous in the entire film), but also heartwrenching drama, whereby the director makes sure that he doesn’t gloss over the more challenging aspects of a budding relationship. Shattering but far from melodramatic, End of the Century walks a narrow tightrope, and manages to emerge entirely triumphant, with its delicate glimpse into the trials and tribulations of two broken individuals coming to terms with their own identity counterbalanced by a soulful optimism that shows the extraordinary lengths we will go to feel the thrill of love, even if it means questioning everything we ourselves hold true. End of the Century is an astounding work of fiction deeply rooted in a recognizable reality, and the director does so well in provoking some powerful themes throughout, creating a poignant work that blends passionate love with enigmatic psychological drama, resulting in an absolutely stunning piece of filmmaking that dives into various subjects and establishes itself as a truly incredible work of contemporary romance.