English abstract This time Marco Berger, in one of his best films, transcends the limits of certain constants in his cinema, putting them at the service of a possible love story between two men, portraying a bond that perhaps constitutes a crossroads of the vital paths in mirror and in opposite senses carried out by both protagonists, with excellent performances by Alfonso Barón and Gastón Re.

English Review Juan and Gabriel (Alfonso Barón and Gastón Re) are co-workers in a lumberyard. Gabriel rents a room to the first in his suburban apartment, initiating a coexistence and the development of a changing bond. The first segment of The Blond One raises the fear of the return of typical and dominant elements in Marco Berger's cinema as the only content, as the beginning and the end: an endless game of seduction that is less and less sneaky, a sort of prolegomenon of a gay porn film that accumulates sexual tension and then not consummated or half done, with a frustrating background and a rather demure approach.

But this time Berger exceeds his own limits: tension emerges in the development of a possible love story based on two very different characters in terms of what they are willing to put into play, the relationship with their surroundings and their personality, from the hand of an intense chemistry between Barón and Re and of a camera that exposes them without modesty, lovingly and with an exquisite photograph. Excellent performances by Barón and a very expressive Re, capable of giving his Gabriel many nuances without even speaking

The Blond One exhibits a very clever script that poses this link as a crossroads of the vital paths in mirror and in opposite directions that both protagonists carry out and that culminates with a certainly epiphanic coda.