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12 Days: Viaje

In this month of skeletons and zombies and pumpkin spice (link), it felt appropriate to watch Paz Fábrega’s minute Costa Rican romance Viaje from 2015 begin at a costume party. It was this month’s pick for Las Kikas Cine Club.

As Viaje begins, a lonely young man in a bear costume hits on a woman on the stairs at a house party. It’s not clear what her costume is, or if she’s wearing a costume at all. She rejects his advance, but a few minutes later returns and corners the bear in the bathroom. They kiss and leave the party together. A drunken romance begins.

Pedro (Fernando Bolaños) is the bear and Luciana (Kattia González) is the “girl” — spoiler alert — it turns out the young woman’s costume is of herself wearing what she would have worn in kindergarten. Nobody gets it without her explanation, which she finally gives to a stranger at the end of the film. So, is this a tale of goldilocks and the bear? Red riding hood and the wolf?

Leaving the party, the two flirt in the back of a cab. The conversation turns to a rejection of monogamy and the construction of an imagined life together with queer polyamorous couples taking care of their children on the weekends so that they can still go out with other people, or each other. The cab driver interjects, calls this attitude selfish, and suggests that when Luciana has her first child her mothering instincts will kick in.

In the morning, Pedro has to leave for work. He is a graduate student in forest research and needs to travel to a remote forest outpost. He invites Luciana along. She can take a bus back into town after the first leg of the trip. And the journey of the title begins.

Before leaving, Pedro brings a pet fish in a plastic bag to be taken care of by a friend at a local aquarium shop. The fish in a bag was a nice callback to the theme of entrapment embodied by a goldfish in last month’s Las Kikas film pick, Pelo Malo. In the next scene, the two are talking about condoms. Pedro doesn’t like to be wrapped in plastic any more than the fish does. Is this Pedro turning in to an animal? Is Luciana in danger? Is the child predicted in the taxi about to be conceived. Or is this more of the flirtatious sexual exploration that started in the taxi earlier?

Soon the two are in the jungle, brushing their hands over a bed of plants that contract when touched. As the two disrobe in their tent and later at a swimming hole the story risks becoming a tale of Adam and Eve among the wonders of the Garden of Eden. Though it is unclear what the forbidden fruit is, or if there is an impending fall for indulging in this spontaneous journey. Will the two turn into animals? Will real animals come for them?

This is not that kind of story. The viaje is as much an internal one for Luciana as it is geographic. Luciana might want to rewind her life and play the part of a little girl, but we learn that a major change in her life will begin soon. She has a boyfriend on the other side of the globe that she hasn’t seen in a year. She is about to fly away to be with him. Following Pedro deeper into the jungle is not compatible with these plans. Our lovers must live in the moment.

Viaje is shot in a beautiful black and white that brings contrasts forward. The jungles of Costa Rica and the bodies of Pedro and Luciana might have been overwhelmed and lost in lush green if presented in color. The dialogue is sparse. Much is unsaid, revealed only through the movements of actors Bolaños and González.