The following review may contain spoilers. Regardless, I encourage my readers to watch the film and hug their loved ones. 😉
Who knew there were different meanings to hugs? Writer/Director, Alvaro D. Ruiz sure did. In his short film released in 2012 entitled, La Trilogia del Abrazo (Three Parts to a Hug), Ruiz demonstrates through vivid emotion, levels of adoration that can only be summed up by an embrace.
The three parts to a hug, which I will further explain in detail shortly, are as follows:
1.”Un abrazo no un beso.” (A Hug, Not a Kiss) 2. Un abrazo casi un beso.” (A Hug, almost a Kiss) 3. Un abrazo como un beso.(A Hug, as a Kiss)
The first hug shows a man knocking on the door that opens up to a young lady who is nothing short of bemused and agitated to see him as she makes it clear in her first words to him that she has repeatedly told the gentleman to leave her alone. When the camera pans to the gentleman waiting by the door, no words are able to be uttered and the ones that are spoken are stammered. A closer look upon the man shows the affliction in his eyes that can only be understood by men who have been in his shoes once or twice before; heartbroken individuals that have knocked on the doors of their former lovers that attempt to spill their heart out, only to realize that doing so would be effortless and find themselves standing dumbfounded in front of someone who just wants you to leave.
Finally before the gentleman leaves, the woman opens the door one last time to offer a sympathetic hug before she closes the door again, for good. She holds him tightly, wrapping both arms around him, while he stands there, visibly still in shock; perhaps at the thought that as soon as she lets go, it will be the last hug he will ever receive from her ever again. One can make the assumption that to make the moment last, the man would try to go for a kiss, but because this was a break up that was in dire need of ending, such an attempt would be fruitless. When the two former lovers finally go their separate ways, the woman is viewed wiping her face, leaving a streak of blood across her cheek while the man is staring at the steering wheel of his car with blood all over his shirt. Here, the imagery captured by Ruiz is just exquisite; the relationship finally being over, takes a toll on one another in different ways for the man, his heart has been ripped out (in this case, physically and emotionally) and the woman, although glad the message has finally reached the man, she can’t help but live with the possible guilt of hurting him (and thus, has blood on her hands).
The second part of the film, “A Hug, almost a Kiss) is a definite palate cleanser i.e., a much happier tone to put the audience in a good mood after the tears they’ve shed for the first one. Like the first part, a door is knocked but a man is the one opening the door to a woman holding what subsequently turns out to be his dog. This dog had gone missing for quite some time and finally was returned to his owner and much to the owner’s surprise, he found a potential new romance. The dialogue exchange between the two characters in this scene is extremely well performed because the chemistry demonstrated by both actors give off these pheromones that would make the viewers think the actors were an item in real life. The embrace between these two only attest such assumptions; the eyes closed, both arms nestled tightly against one another as though they didn’t even know they were meant for each other and now that they did, what would be the purpose in letting go? Such a beautiful hug would deserved of a kiss but because that would be awkward, they are forced to let go and leave one another. Not before the woman calls the owner to let the man know, she’ll “see [him] around.” So all is not lost in the end and there will definitely be another chance for that hug to potentially turn into a kiss.
The third and final part of the film has a mixed tone; melancholy but alleviating. A man is seen staring at himself in the mirror of a dressing room and like the first two parts, a door is knocked. He opens it to find a woman who is dressed in a short, but tight dress. The conversation between the two is a bit hard to follow because it seems as though the man has done something to betray her although it is not specified. The man seems to display emotions of remorse for whatever it was that he has done to her and the woman, although still perhaps feeling a hint of anger towards him, manages to find it in her heart to forgive him and request a hug. This hug is almost identical to the second hug in that strong feelings are being displayed in the hug but like the first hug, this is going to be the final hug between the two and because both parties are participating in the embrace, it’s as though they are feeling reluctant in their relationship ending, even though they both know it’s the right thing to do. As it soon turns out, the man is in his car and is on the phone with another woman (unseen audience but believed to be his wife) moreover, is not the woman he embraced in the scene and tells her he is coming home.
This film although only 10 minutes long, tells a lot about the importance of an embrace. Most people would not consider a hug to be that important as they are deemed with the same commodity as a handshake. Ruiz tackles this successfully by showing that emotions, raw emotions, expressed by a hug, say the words we’d like to say to one another. And by being able to utilize emotions so well, to the point where the viewer forgets they are watching a film, is what makes his work so artistic. Words such as, “Please don’t go”, “Please don’t let go”, and “Let me go” are only as good as they can be, but the saying goes, actions speak louder than words. And in this case, the hug is most deafening.
Written at 7:56 P.M. on March 17, 2017