Iván & Hadoum

In recent years, queer cinema has been in pretty good shape. Nowadays, filmmakers from all around the world are inspiring us with new stories that deeply resonate with their personal understanding of identity. Ian de la Rosa’s Iván & Hadoum belongs to this category. When Iván (Silver Chicón) and Hadoum (Herminia Loh) fall in love, their Spanish world seems at least a little brighter, despite all the odds. But every fairy tale must come to an end. Our lovebirds soon have to choose between their beliefs and, ultimately, themselves.

Silver and Herminia, although more or less newcomers, provide the entire energy, dramaturgy and sex appeal of this small but powerful debut. Their chemistry is impressive: we believe in love at first sight when their characters meet in a local bar at the beginning of the film. As Iván and Hadoum’s relationship gradually develops, they grow closer, both physically and emotionally. The intimate sequences between them are mesmeric, while their conversations feel natural – less declarative and more tangible for the audience. As a film about pure love, it works smoothly, without any sense of artificiality.

There are some issues with the rest of the storytelling, particularly the drama related to Iván’s family business. Without revealing too much, it is worth mentioning that the couple work in the same place – a factory overseen by Iván’s uncle. When tension arises between Hadoum and her lover’s relatives, connected to her identity and national roots, Iván must decide between his career and Hadoum. It’s a romantic dilemma that has recurred in pop culture for ages, perhaps since Shakespeare. We want them to be together, and Iván’s final choice is not simple and, most importantly, not obvious.

We have, in many ways, seen this before, as Iván & Hadoum is a modern take on Romeo and Juliet, albeit with a sharper racial and social focus. However, it is far from nihilistic and persuades us that there is always a light that never goes out, no matter the circumstances. Love needs to triumph: perhaps that is why cinema was invented in the first place – or at least that’s what we want to believe while watching this poignant debut.