Perhaps the first thing to say about Smiley, the explosive celebration of LGTB, is that the entire cast, from leads to supporting roles, pulls off their roles with flying colors. It is proof that a consolidated audiovisual industry creates and allows an essential breeding ground for the emergence of quality in its technical and artistic disciplines. The quantitative begets the qualitative, just as confusion in a cell phone message can lead to an apotheosis of homosexual passion.
Carlos Cuevas, Miki Esparbé, Maritxell Calvo or Pepón Nieto, to name just a few, gain great credibility in their roles. Guillem Clua’s screenplay, an adaptation of his own play, is solid and brilliant in its effort to show the complications of sentimental relationships, where sexual attraction is the basis of pleasure and pain, or how we humans transform the primal into a tangled accumulation of difficulties .
Its eight chapters (Netflix), directed by David Martín Porras and Martha Pahissa, is a treatise on that “union of two babas” as Cioran defined love, with a Pepón Nieto paying tribute to Divine and the already forgotten Paco Spain. a progress of transformism at the end of the long period of silence, and all this in a modern and cosmopolitan Barcelona, the same that allows a young and shy architect to come together in a “lively” place with an addicted waiter gyms, without forgetting the Latin American immigrants. In other words smiley is real as life itself, i found you on the street and don’t give me anything back and stay with me. The rest is literature.
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