After a newly-single TV weatherman is put on leave following an on-air meltdown, he directs his energy into home improvement and hires a middle-aged Latino day labourer named Ernesto to help. Despite a language barrier and having nothing in common, the two men develop an unexpected but profound friendship.
Every time I see Matt Bomer, for a split second I confuse him with Henry Cavill. Their facial structures are incredibly similar, but all you have to do to tell the difference is wait and see how happy they are, because Bomer always seems to have a more positive outlook, whereas Cavill is the stern and surly Man of Steel that we have come to look or hate, and has carried that stoic nature into the majority of his other roles.
Every element is well-thought-out and executed, from things as small as the subtitles. Sean and Ernesto speak English and Spanish respectively, with very minimal cross-over, and the audience is allowed to walk in Sean's shoes by not providing subtitles when Sean and Ernesto "converse". Every time Ernesto speaks, we are just as much at a loss as to what he is saying, as Sean is. There are certain moments where Spanish-speaking people are talking together, and because they fully understand each other (and the conversation is plot-significant), we are provided with subtitles for context. But as a rule, if Sean is present and doesn't understand what is being said, neither does the audience.
Bomer's performance is magnificent. While he initially looks like an arrogant flamboyant gay weatherman, who cares about nothing but harassing his ex and finding other young men to flirt with, Bomer expertly inserts a hidden pain into every smile and laugh. You can sense when the emotions being conveyed are over-dramatic and false, and while it appears like poor acting at first glance, there is a heart-wrenching reason behind it, and Bomer goes all-in. the emotional weight is not toned back for a wider mainstream appeal, neither are violent or insecure moments hidden. Eventually, all is revealed; the good, the bad, and the ugly.
His third attempt at writing and directing a feature-length film, director John Butler utilizes that control over the material effectively. his time has not been split between the two roles, the two roles have combined to truly create the vision that he has, and the narrative direction of the film is clear from the outset. It leads you in a certain regard, and some may consider that predictable, but while the events are predictable, Sean's reactions to the events are volatile and erratic because of his poor mental state.
The cinematography from Cathal Watters is compelling. Never flashy enough to distract from the emotional development of the characters, Watters creates a warm, bright environment when Ernesto is with Sean, compared to the darker, flatter environments when Sean is alone. The musical composition from John McPhillips is also inconspicuous and unobtrusive, lifting the material without ever truly making you aware of its presence.
Papi Chulo goes much deeper than what you would expect. It is in no rush to find a happy ending and will let every ounce of desperation and fear hold the viewer in suspense. Patino and Bomer work brilliantly together and the connections, contrasts, and conflicts of their budding friendship blossom into a surprisingly engaging film (about a man hiring a Mexican to paint his deck).
Papi Chulo is in cinemas from August 27, 2020