The Border’s Hidden Face: A Queer Story Unfolds in ‘Tijuana, Todavía’

In a year marked by unprecedented challenges for LGBTQ+ communities worldwide, Gabriel Gutiérrez Morales’ film ‘Tijuana, Todavía’, a contender for this year’s Queer Lion at the Venice Film Festival, shines a light on the often-overlooked plight of queer refugees. The film brings to the fore a story that resonates with current events and offers a nuanced exploration of identity and community.

The film’s producers, Humberto Busto and Gabriel Gutiérrez Morales, faced budget constraints during production, which forced them to think creatively and work within a tight timeframe. This self-imposed discipline yielded a remarkable film not only for its low production costs but also for its unflinching portrayal of the complexities surrounding queer migration.

One striking aspect of ‘Tijuana, Todavía’ is its depiction of the border as a liminal space – neither fully part of Mexico nor Russia. This limbo is where Maksim, the young Russian refugee played by Petr Filimonov, finds himself. Like many peers, Maksim has fled war and persecution to seek solace in northern Mexico’s seemingly safer terrain. However, the film astutely shows that this haven is often a myth.

The story focuses on queer migration as a powerful counterpoint to dominant narratives surrounding immigration and border control. For too long, the media has portrayed the border as a war zone, replete with danger and hostility. ‘Tijuana, Todavía’, however, offers a more nuanced view – one that highlights the resilience of individuals like Maksim who have been forced to flee their homes.

Petr Filimonov’s portrayal of Maksim is deeply moving and bears an uncanny resemblance to his own life experiences as a refugee. The serendipity of this casting decision underscores the reality that ‘Tijuana, Todavía’ is less about fiction and more about lived experience.

The film also explores queer identity and community through its portrayal of Chava, played by Humberto Busto, who struggles to reconcile his own machismo with his desire for connection. This tension between cultural expectation and personal truth serves as a powerful reminder that even in communities perceived as welcoming, there is still much work to be done.

The production team’s decision to feature the Casa de Luz refugee shelter in the film underscores their commitment to authenticity. The founder of the shelter, who had her own experience of falling in love with a Russian man and following him through multiple countries, serves as a poignant reminder that even in chaos, there are moments of beauty and connection.

As ‘Tijuana, Todavía’ vies for the Queer Lion at the Venice Film Festival, it is clear that this film has much more to offer than just a compelling narrative. It represents a powerful rebuke to the status quo, challenging dominant narratives surrounding immigration and queer identity. With its unflinching portrayal of the complexities surrounding queer migration, ‘Tijuana, Todavía’ serves as a reminder that even in darkness, there is always hope – and always a story worth telling.

In the face of growing intolerance and persecution worldwide, ‘Tijuana, Todavía’ stands out as a beacon of light. Its quiet presence at the Venice Film Festival serves as a testament to the enduring power of storytelling in the face of adversity. As we watch this film unfold on screen, we are reminded that even in the most hidden corners of our world, there is always a story waiting to be told – and always a community willing to listen.