Every shot in MALA NOCHE exudes a blunt insistence upon sex right this minute—a sensibility notably absent from the well-behaved, inspirational independent features that have dominated LGBT film festivals in recent years. (MALA NOCHE isn’t the kind of film where someone’s conservative mother reluctantly learns to accept her child’s queerness after realizing that gays know all the best showtunes.) The infrequent bursts of color are, like the rest of the movie, ecstatic and sad.
Kyle A. Westphal
August 30, 2013