Infatuation and lust may have bad consequences, particularly if involving an adult and a minor, and it certainly involves misapprehensions and rumors, particularly if involving teacher-student of the same sex. Thus, a good basis for an intriguing film for relatively wide audience? But, alas, the result is a protracted depiction of facial expressions and trivial dialogues, with the main topic in the background, and otherwise spirited Latin Americans behave as those from the Nordic countries... The plot remains indistinct; I usually like to ponder on and over during or after a film, but here, it was no mind-twisting at all. Leaving things open and not explaining things are two different approaches for me.Ausente could be a play for small niche theatres, but a film for a big festival? I was surprised when I read that the film won "Best feature film" during Berlin International Film Festival.

With Absent, Marco Berger shows he's a world-class director. I have to confess that the slow speed of his movies irritates me slightly, and I have to confess, too, that I find all of his films very similar. But with Absent, he succeeded at connecting with, at playing games with, and even mocking the audience in a way that is frequently unseen in cinema.And I explain: to many (myself included), the outcome of the film is unnecessary. It prevents us from watching many other possible outcomes that could give a different closure. A more entertaining one, a more rational one, or a more whatever. And this upsets the spectator. But Berger, with unseen ability, places us as judges of ourselves. He exposes us, and makes us face our own stupidity by putting a mirror in the form of Mariana, Sebastian's girlfriend. The silly girl gets upset because the book she has just read didn't tell her the story she wanted to hear. So she's unsure on whether to recommend it or not. How long does it take for the spectator to see himself in the middle of that scene? Probably, it takes him as long as it takes to realise what a genius Berger is, for he, gracefully but bluntly tells us that life and expectations don't go together.

.....Latest Work by Director Marco Berger is so very much the opposite (well, perhaps there's a "tinge" of romantic love). Instead, we're being given: A Crush-love...almost a Stalkerish-love.In a comparison of the two movies, "Absent" is the more accomplished production....both in camera work and locations-wise. And as in the earlier film, here the Co-leads and supporting actors also cannot be faulted. Javier De Pietro, as Gay-aware, swim team student Martin Blanco, delivers an admirable first film performance as a mid-teens young man, who is "crushing" on his team coach. Martin has a "Plan" (but...unlike in Director Berger's preceding film, no alternative, Plan B has even been thought of). Single-minded and intensely focused, our Martin has set his sights on placing himself in his team coach's very own bed. Next up, as our unsuspecting object of affection (I mean, obsession), we have the attractive, student-oriented Coach Sebastian Armas (Carlos Echevarria, an experienced actor of some 12 films). This film star ably paints a picture for us of a serious and never smiling, heterosexual(?) man, who is much concerned for those under his charge.....and possessing no(?) interest in the Gay lifestyle.GENERAL OBSERVATIONS:The opening-credits camera shots, and especially the soundtrack, seem meant to be ominous in nature and apparently have been structured to forewarn where this film is heading. They consist of lingering, closeup angles of young Martin's striking and sexily hairy body. All this in the guise of a sports program physical exam (oh, of course). Continuing this fascination with Martin's body....later on, after our young trainee has manipulated his way into his coach's home, various intentionally provocative poses of Martin, in near undress, are provided by our Director....culminating in an early morning, "touchy-feely" visit to Sebastian's bed, as he lies sleeping.We are given long, sometimes static, film minutes (more than one-tenth film's running time) spent in an automobile front seat. Our Co-leads driving from place to place, as required by the storyline. These are uncomfortable (yet probably realistic) times spent together...with little dialog. Similarly, there are MANY other coach/trainee interactions where one might expect easy chatter/conversation. BUT such does not occur...and that is not what I would expect to happen between a dedicated coach and those he is mentoring (perhaps such is not the case in countries outside the U.S.).Young Martin appears not to interact with swimteam mates in a normal, youthful, fun manner...and is shown to roam pool changing rooms, in the hopes of seeing other young men in stages of undress.After unsuccessful attempts to get closer to Sebastian during that night spent at the Coach's home, and perhaps ashamed of his actions, Martin quickly owns up. He does so in a note left for Sebastian, reading that he had contrived the overnight stay (BUT he does not specifically spell out what his aim had been). From that point on, Martin begins distancing himself, even missing training sessions. Then occurs an uncomfortable scene in which Coach and his girlfriend (yes, he has one) take seats in a cinema, unaware that Martin and a young female acquaintance are already seated there. One seat separating the 2 men, (as the Director has planned for), we suspensefully wait for awareness of each other to hit the fan.Somewhat later, their relationship climaxes (yes, I use that word) in a face to face confrontation: Martin openly admits to his plan for a "hoped-for seduction". ....And Sebastian, realizing the untenable position in which he had been placed, directs a blow to Martin's face, and angry words are exchanged.Shortly thereafter, Tragedy Strikes. We will never know this film's "What Might Have Been". Perhaps even Director Marco Berger cannot know. BUT....in the story's closing 20 minutes, we find ourselves being carried along, within Sebastian's innermost mind, seeing him live each day--though he is acting as in a near-trance. Then, startlingly, we begin experiencing "What Might Have Been" memories of past times spent with Martin (but happening as Sebastian wishes they "might" have occurred). Closing shots take place with the Coach revisiting the darkened and ghostly poolhouse. Then follows a final scene of our Co-leads (yes, both) seeking and finding one another in the semi-darkness: ....a Sweet Kiss....an Admission of Regret....a Request for Forgiveness. And we see, for the very first time in this unhappy film, a tender smile appear on the face of Sebastian.PS--Oh, face it....I want Romance! (M. B. does it so well)****

I have never ever seen such a long scene of sexual tension built up as it was shown in this movie. And at the same time, I have never been in a theatre with such pin drop silence because there are no scenes that evoke laughter. You are just waiting and watching as to whats going to happen next. I dunno if it is right to call this film as a thriller but there is a different thrill that you feel while watching the movie. I thoroughly enjoyed it.16 year old Martin finds his swimming instructor Sebastian very attractive. One day he fakes of an eye injury in the class, and Sebastian take him to the hospital. Martin has already planned in his mind a web of lies for why he cannot go back home and finally succeeds in getting an invitation from Sebastian to sleep at his house. But thing are not simple as they seem. The night seems pretty long where neither of them is able to sleep really well. Sebastian next day finds out that Martin's parents were looking for him all night. He also finds a note in his car from Martin apologizing for telling him the lies. When Sebastian confronts him, he very openly tells him that he was hoping something will happen between them that night. This infuriates Sebastian and he hits him. Things are not same. Now Sebastian is having weird feelings and he cannot even concentrate on his girlfriend. He keeps thinking of Martin. Martin meanwhile stops coming to swimming class and is spending more time with his friends. In an unfortunate accident Martin dies and this is when Sebastian has to deal with his emotions. He recalls how maybe on some occasions he might have possibly given the boy some hints and starts questioning his own feelings for the boy. Guilt struck, he is now hoping that somehow Martin will forgive him for what he did.You have to really watch the film to closely absorb the beauty. The entire night sequence where Martin stays at Sebastian's house and events unfold is simply superb. There is so much sexual tension on the screen that as a viewer it was a completely new experience for me trying to anticipate what can happen next. Another beauty of the film is that there is no heightened drama or dialogues or anything. None of the scenes have been filmed with melodrama, however drastic they are. The subtlety of these scene make a much more stronger impact. The end is so beautiful when Sebastian follows the image of Martin in his head in the swimming club just hoping to be forgiven. Excellent acting and a fantastic direction. It is an incredible sexy drama of repressed passion, guilt and regret. The slow build of the characters is fabulous with the relationships unfolding, refolding and unfolding back again.Strongly recommended. Whenever there is something new, I just have to lap it up