SXSW FILM 2011
By Don Simpson | May 21, 2011
Director: Nicolás López
Writers: Nicolás López, Guillermo Amoedo
Starring: Ariel Levy, Lucy Cominetti, Andrea Velasco, Paz Bascuñan, Leonor Varela, Matías Lopez, Nicolas Martinez, Ramon Llao, Ignacia Allamand, Claudia Celedón
Javier (Ariel Levy) is a young advertising professional who has fallen in love with Sofia (Lucy Cominetti). Javier and Sofia’s love life starts off a bit rocky, but their relationship matures into two years of approximate bliss. Eventually, though, Javier becomes bored and breaks up with Sofia — he instantly regrets that decision.
Most of writer-director Nicolás López’s Fuck My Life takes place after their break up, as Javier alternates between moping pathetically and pathetically attempting to win Sofia back. Throughout his emotional roller coaster, Javier’s best friend since childhood, Angela (Andrea Velasco), serves as his sole support; she also has a keen knack for telling him the truth, no matter how brutally honest it is. Most importantly — at least in the postmodern context of FML — Javier and Angela communicate incessantly via text messages. Despite Javier’s countless mistakes and misfortunes (drunken tomfoolery, one night stands), Angela remains by Javier’s virtual side, always a text message away.
Javier also utilizes modern technology (namely Facebook and Twitter) to viciously slander Sofia; all the while Javier grossly romanticizes his relationship with Sofia recalling only the happy memories of their time together. FML cleverly utilizes the perspective of the people most closely associated with Javier and Sofia — via talking head interviews — to offset Javier’s warped recollections and provide justification for the demise of their relationship. (The general consensus is that Javier is selfish and he only wants what he cannot have.)
López brilliantly captures the hyper-stylized quirks and faults of dating in the digital age. Breaking up postmodern style — with real time, worldwide social networking websites such as Facebook and Twitter at our disposal — allows for the instant airing of dirty laundry for any virtual “friends” to witness firsthand. Such a public forum is definitely not the most appropriate place to express ones hateful opinions about their ex, especially when one hopes to win said ex back. Aggressive posts on Facebook and Twitter are not only toxic, but they possess a certain permanence that cannot be deleted from the cloud’s memory.
Where López truly succeeds is in revealing how, despite the preponderance of hi-tech communication outlets we presently have at our disposal, relationships always boil down to the ability to have honest face-to-face conversations. Emoticons and netspeak will never be able to replace the communicative powers of organic human emotions and body gestures.
FML is set in Santiago, Chile — which, via Antonio Quercia’s impeccable lensing, appears to be utopia and Eden rolled into one. It would not surprise me in the least if Santiago begins to use exterior shots from FML in their tourism commercials.