Marco Berg is very good at subtraction. The story line of "Hawaii" is simple and the dialogue is not too much. A lot of shots focus on the expressions of the two people. Topless through the sunlight in the courtyard, Eugenio's deep expression behind his glasses, Martin's soaked undershirt, his sensuality still revealed.
This subtraction makes other details of the film stand out more. What "Hawaii" wants to present is the ambiguous state between Eugenio and Martin, a contradiction between physical impulses and constant inner weighing.
There are many homosexual films, but it is difficult to introduce new ones. Most of the audience's attention will fall on the protagonist's appearance, figure, and whether the film shows the freshness or cruelty of same-sex love, which makes most homosexual films fall into the rut. : The environment is relatively closed and the scenery is beautiful, the characters are as few as possible, and the time limit is added to create a sense of urgency that "there is no future in Japan".
Except for the sex scene, these elements are used in "Hawaii". However, even today, it is still unique.
"Hawaii" has a beautiful and fresh shell, the two protagonists are good-looking, and the director's ingenious camera language is just the right exposure. However, it also implies that in adult love, it is a safe attitude to be prudent and to withdraw at any time.
In the beginning, Eugenio was the absolute initiative in terms of employment relationship. He broke into the bathroom and lied to help Martin get a change of clothes, squinting in the mirror to see Martin with his pants down, and urinating in front of Martin by the lake. His sly smile when he succeeded in thinking, and the kiss he pushed away from Martin were all impressive.
And Martin, albeit with hindsight, became the one who took the initiative after receiving Eugenio's signal. He was tempting, too, but unlike Eugenio, who was good at playing flirtatious games all the time, he ended the temptation with a kiss that might have left him with nothing. In love, Martin is brave.
The scene in "Morris" where Alec crawls from the windowsill into Morris's room is always on my mind. Now that I think about it, Martin at this time, like Alec, is desperate.
Unlike Alec's positive response from Morris, Martin's kiss was pushed away by Eugenio. Eugenio's brother reminds him of the class difference, which is Eugenio's concern to stop Martin from kissing.
Fear of loss, fear of frustrated self-esteem, and fear of loss are the concerns of countless Eugenio in reality. It's not that a relationship doesn't need to be stopped in time, but that a relationship has not yet begun, and it is already thinking about a retreat, which has to be said to be sad.
It's no wonder Eugenio, unrepentant love is indeed rare among adults.
"If I am a pineapple, and you happen to be a pineapple, as long as you stand quietly together without probing, it is enough."
In fact, we can't accurately define the relationship between Eugenio and Martin, whether it is the friendship of childhood playmates, or whether the hot summer stimulates the desire for loneliness in the body. But sometimes I think about how difficult it should be for a pineapple to meet another "coincidentally" pineapple.
There are almost only Eugenio and Martin in the whole film, but in a sense, they are one person. Martin, who has nothing, is more like us who were desperate when we were young; Eugenio, who is worried, is not the same as us who have become cautious after experiencing the ups and downs of love?
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