The odyssey of a kind-hearted hairdresser immersed in the Havana drag-queen culture suddenly becomes complicated when his long-departed father suddenly re-emerges into his life in the poignant drama, Viva.
Amid the bustling beauty of Havana, hairdresser, Jesus (Héctor Medina) is simply existing. He has no family and his friends are mainly the clients whose hair he styles. His only connections are with his sexy friend, Cecilla (Laura Alemán), who uses him for his flat for her sexual trysts with her boxer boyfriend, name, and club proprietor and performer, Mama (Luis Alberto García). One of the few people who Jesus can confide in, Mama is in effect exactly what the name dictates.
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Jesus has an underpinning of curiosity as he is searching to find his place, somewhere he belongs when suddenly, his picture starts to take shape. When one of the performers leaves the show, it creates an opening that Jesus is eager to explore. While Mama isn’t totally sold on Jesus’ motives, he decides to give the earnest protegé a chance. Despite a rocky audition, the newly christened ‘Viva’ takes the stage.
Initially, very wooden and soulless on stage, the transition from spectator to drag queen performer is hard for Jesus to grasp. Punctuating his frustration, he is physically attacked during a performance – only to discover that the perpetrator is none other than his disgusted estranged father, Angel (Jorge Perugorría) who has recently been released from jail.
Sparks continue to fly as father and son come face-to-face with memories, expectations and perception. Formerly a prizefighter, Angel has become older, bitter and a drunk who resents the fact that his son is not only him but has an interest in the drag queen culture. Caged like an animal, he is still trapped in a mental prison, even if his physical bars have been removed.
Screenwriter Mark O’Halloran, who also has appeared in films such Calvary and The Guard, crafts a screenplay that lets the actors breathe. It is easy to imagine that this story could easily be a stage play as each character gets a chance to showcase their strengths and insecurities. It is not just the relationship between father and son, which is the primary dynamic but the clever way O’Halloran’s screenplay highlights the different kinds of love relationships that we each possess and how all of those can happen simultaneously.
While initially afraid of this father, Jesus is soon caught in an emotional tug-of-war for affections and his soul between him and his mentor, Mama. Director Paddy Breathnach weaves all of these themes together but benefits from a strong performance from Medina. His sensitive puppy dog eyes and mannerism help him navigates between naivety and independence as he slowly discovers that while some may see his choices or life as weak when he discovers his truth and the confidence to be himself, his life direction changes.
How beautiful is the island of Cuba? The film serves as a wonderful backdrop for the drag queen subculture which is colorful and filled with exuberance and drama. Much like Eminem’s Rabbit finds ultimately finds his voice in 8 Mile, Jesus successful transitions into Viva and mines similar ground. Ireland’s nominee for Best Foreign-Language film, Viva is a thoughtful, comforting story that succeeds in constituting what is family and how freeing it is to truly embrace yourself.
Grade: B