All the promotional material for Sebastián Silva’s Rotting in the Sun would have you believe it’s a daft, vapid comedy—but it ends up being nothing of the sort. With a twist to rival Gone Girl, a cast who are seemingly competing for the narcissist of the year award, and nudity that you wouldn’t quite believe made it past an edit, this outrageous caper is not for the faint-hearted.
★★★★✰
Rotting in the Sun: a gay, Mexican-American, black comedy thriller distributed by MUBI—what’s not to like? You may find yourself wondering how director (and writer, and star) Sebastián Silva managed to fit in so many willies per frame, and whether this may be a world record, but that’s all part of the fun. You may also ask yourself how social media phenomenon Jordan Firstman can come across as so intolerable and yet so loveable at the same time, but again, I’m sure that was exactly the intention.
In the first scene, we meet the abhorrent version of himself that Chilean director Sebastián Silva plays, in the chaotic Plaza Rio de Janeiro, Mexico City. He seemingly spends his days snorting ketamine, behaving horribly towards those around him, and flicking absent-mindedly between his two top Google searches; his own name, and how to kill himself (his preferred method being the dog poison Pentobarbital). Eventually, his friend/landlord Mateo (played by Mateo Riestra) has had enough of his self-pity, and suggests that he take a holiday to the gay nudist resort of Zicatela. You might think this would be the point where his life and mood begin to pick up, and he overcomes the crippling writer’s block from which he’s been suffering. You would be wrong. Instead, he meets the hilariously insufferable Jordan Firstman (also playing himself), who wants to collaborate on a screenplay and simply will not take no for an answer. After some fantastic exchanges between the two (including a scene in which Jordan broadcasts Sebastián taking drugs to his millions of followers), it is agreed that Jordan will visit Sebastián at his apartment in Mexico City a few days later; but everything is not as it should be when he arrives.
Everyone knows someone like Jordan Firstman. His performance in Rotting in the Sun perfectly encapsulates that person you meet at a party who believes you’ve got a ‘connection’ and won’t stop telling you so. You know the type—absolutely certain that the universe put you together and you’re bonded for life. His over-the-top positivity and the way he lives his life in full view of others is an excellent foil for Sebastián, who is clearly so uncomfortable in his own skin. The chemistry between them is key to the film’s intense watchability, and also adds a layer of believability to the events that unfold in the latter half. Most of their scenes together produce genuinely laugh-out-loud moments; above all else, this film is really, really funny.
However, in terms of acting, the unsung hero is Vero (played by Silva’s previous collaborator, Catalina Saavedra), his seemingly gormless maid. She is treated with utter disdain by her employers, who, rather than appreciate all she does for them, bark orders at her and complain about her mistakes. The language barrier between Vero and Jordan lends an interesting dynamic to the more ‘true crime’-esque sections of the film. Their conversations are facilitated by a translation app on Jordan’s phone, which doubtless has a less-than-stellar accuracy rate.
The bilingual script means that language plays a fascinating role in this feature on many levels. Most obviously it provides an opportunity for comedy due to the aforementioned mistranslations, but above all, it is a signifier of class. The Chilean and Mexican characters who hold all the power and resources have a command of English as well as Spanish, which opens doors for them—such as Sebastián’s collaboration with Jordan Firstman. Vero, on the other hand, depends on the good will of her employers to stay afloat, and in Jordan’s case, his benevolent iPhone to communicate with him. As a wealthy American in Mexico, he is not hindered by his inability to speak the native language, but instead views Vero as stupid because she’s unable to understand him. Unbeknownst to him, she is far more intelligent than any other characters assume.
The remarkable feat of Rotting in the Sun is how the filmmaking is able to seamlessly shift its tone. While the comedy of the first half is undoubtedly dark, it feels more light-hearted. The setting of Zicatela in particular—with all its parties and exhibitionism—gives the impression that the stakes are pretty low. While very enjoyable, there is no huge plot hook to keep you watching. However, the turning point and subsequent switch to thriller let you know that the party is over, and keep you on the edge of your seat. There is chaos prevalent throughout both halves of the film, which is enhanced by the expert sound design (a busker’s diabolical rendition of ‘Zombie’ and the incessant construction work in Sebastián’s building spring to mind). Initially, this is used for comedic effect, but as the story enters darker territory, it serves to stress the viewer out. This switch between pure comedy and mystery is one of the most skillful I’ve seen.
The Verdict
Rotting in the Sun is really two completely different films in one. You never quite know where it’s going, but you’re certainly in for a hell of a ride. It’s an undoubtedly impressive accomplishment to write, direct and star in your own film, and serves as a perfect introduction to Sebastián Silva’s back catalogue.
Rotting in the Sun is streaming on MUBI now.
Words by Gillian Bradley
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