The director of HBO's 'Los Espookys' observes the vibrant 'Cholombiano' dance and fashion subculture in Monterrey, Mexico, in this Netflix feature about immigrant dislocation
Ulises is a taciturn 17-year-old with hair like a punk rooster, shaved in the back, teased up into a peroxided crest on top and slicked down in thick, extended sideburns that almost meet in the middle under his chin, like a helmet strap. It's quite a look, especially whenever he assumes star position at the center of his dance crew, bobbing, weaving and strutting to the decelerated rhythms of cumbia music that are the group's beat of choice.
Among his Monterrey crew, "Los Terkos," Ulises is considered a leader — quiet and intense, projecting a tough-guy exterior yet nurturing and kind with kids new to the group. His wild style and bold dance moves have girls lining up to take selfies with him. He stays on friendly terms with the local drug dealers, earning their respect by virtue of his late brother, who started the gang, but he keeps the rest of his crew at a safe distance from them.
Frias, who also co-edited with Yibran Asuad, slips back and forth between Monterrey and New York, but at close to two hours the movie tends to amble. It too often lingers over inessential scenes and neglects the connective tissue, though the mostly inexperienced actors are appealingly natural. There's a stronger film stuck inside this rather lethargic assembly, which could have used cleaner narrative lines and a sharper frame. But there are nonetheless disarming moments of casual observation to keep you involved, like Ulises glancing at the sidelocks of a Hasidic Jew, seemingly recognizing a fellow hairstyle rule-breaker, or watching a hip-hop dancer on the subway.
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