A young gay graduate student is alone in Brooklyn, blurting out in Brooklyn, and a biker in the class who was scheduled to deliver food all met in a neighborhood park for one night and would be in a matter of minutes. Find a corner without corners, they quickly get out of each other and then spend more idle sharing the remaining furry back hair. PAD KEE MAO On the nearby bench, all of this is like before the exchange of names. For those who believe that people who are sexually violate the right social order, this exhausted, damp, perfectly played scene will confirm all their biases in Lucio Castro's "Drunk Noodles." But it also has a tender, relaxed intimacy, even a brief erotic encounter with an understanding of charged connections, and unforced energy permeates this pleasant, breeze-blowing character study.

After an ambitious genre experiment, “After this death” (premiered only a few months ago in Nar Berlin), Castro’s third feature brought him back to his drowsy, sensory realm of his debut in 2019 “end of the century.” However, it is a lighter, more mischievous work, because compared to short physical encounters, the story is less concerned with the long-standing inquiry: the enthusiasm of the Argentine director, staring at the young, sexual desire, is a tenacious property, a perfect sex age for Arthouse and Lgbt and Lgbt cinema. Strand Reasing has secured North American rights, which is likely to become a queer cult.

The ruthless, soft-spoken atmosphere of chief actor Laith Khalifeh greatly sets the rhythm for "drunk noodle", and his company alone shows a lot. Adnan, an arts student, sat on the summer cat in New York City, and he was friendly and curious in the same range. With his popular beard and just-completed wardrobe, he looks like part of a practice urban hipster, perfectly portraying an intern job as an intern among an intern at an empty Williamsburg Gallery in Williamsburg – but for him, he draws the preface to three stages in three stages in other age groups, a faintly anxious naivety.

First, Adnan's original tryst and the above doordash-er, Yariel (Joel Isaac), is a tentative relationship between them, which is mainly physical. The stopping of the date of the Adnan Gallery unfolding, awkward attempts are being introduced, in which a delicious dirty folk art exhibition is exhibited: colorful and intricate embroidered tapestries depicting men in various scenes of intense activity, playing a variety of activities and bdsm roleplay. (Call it is called Hard-Cottagecore if you like.) Intentionally or otherwise, these works provide a template for later groups to come together between Adnan, Yariel and a group of delivery drivers. Castro is represented as a teasing montage, just like on the walls of other galleries, a rude tangle, helmet and bare flesh.

We went back to the summer of the previous year, and Adnan met Neurosurgeon and Thesp Ezriel Kornel, the sixties artist behind the tapestry while riding a bike in the woods. The moments of self-evident chemistry between them lead to ruthless sex, then a more unusual night parade, taking the movie with a deliberate loop, completely trapped in a thoroughly magical realism rather than the last time. The next chapter goes backwards in just one day or so, revealing the poignant background of Adnan’s Exploration Spirit in the first two.

"Drunk Noodles" may be focused primarily on freedom and sporadic lonely single life, but it is also quietly sharp in the context of bittersweet rewards and the limitations of homosexual coupling. A sly witty scene saw Adnan share his ill-fact memories of childhood sexual behavior with his partner: the first secrets of many people in many sex lives that are met through passes, privately, and he is collected and nurtured by our heroes even in the pursuit of an open, loving relationship. At the same time, the dreamy whimsical conclusion makes people completely lonely.

Everything feels appropriately and pleasantly in this portrait of Will-O'-The-Wisp Living: filmmaking is never violent or overworked, from casual, economical slices edited by Castro to the use of Airy natural light by DP Barton Corright and the use of Airy natural light and deep sweat, sweat-reducing colors. The other crew members perform twice or triple positions, and Yegang Yoo deserves the film's sparse, irregular scores and clever characters at Athens costumes. This scale and spontaneous way of making is suitable for Castro's drifting, introspective interest as an artist - here centers on the daily ecstasy and fantasy of the flesh and mind, as found in the Woodland Trail, a perfect derrière, or a very beautiful takeaway carton.