‘Drunken Noodles’ Review: A Breezy, Summery Ode to Casual Sex and Embroidered Erotica

by

Spending my summer days solo in Brooklyn, I found myself browsing dating apps one evening, seeking a casual encounter. In no time, I crossed paths with a chiseled food delivery cyclist wrapping up his shift at a local park. We retreated to an unlit corner, where our mutual desire quickly led us to a moment of shared passion. Afterward, we sat on a nearby bench, enjoying the leftover pad kee mao from our post-coital meal. Even before exchanging names, we found ourselves connected by an undeniable spark.

For those who believe that using apps for sex goes against traditional social norms, this languid and sensual scene in Lucio Castro’s “Drunken Noodles” will only reinforce their views. However, there is a tender, effortless intimacy to the connection formed during our brief encounter, a bond that radiates throughout this warm, breezy character study.

After the genre-bending film “After This Death,” which debuted at the Berlinale just a few months ago, Castro’s third feature takes us back to the dreamy, sensual world reminiscent of his 2019 debut “End of the Century.” Unlike its predecessor, this work is lighter and more playful, fitting for a narrative that focuses on fleeting physical connections rather than existential ponderings over an extended period. Castro’s empathetic, non-judgmental perspective on young, passionate interactions adds a refreshing touch in today’s largely sexless era, even in arthouse and LGBT cinema. Strand Releasing has already acquired the North American distribution rights for this potential future queer cult classic.

Laith Khalifeh, the calm and unassuming lead actor, greatly influences the pace of “Drunken Noodles.” Most of the story takes place with him alone, as he portrays Adnan, a summer art student cat-sitting for his wealthy uncle in New York City. He’s both indifferent and curious at once. His modern mustache and fashionably oversized clothing give off an air of a seasoned urban hipster, complete with a gallery intern job at a small Williamsburg gallery. However, there’s a subtle sense of nervous innocence about him that attracts men of different ages and backgrounds throughout the narrative, which is structured in three chapters that are presented in reverse chronological order.

Initially, Adnan meets Yariel (Joel Isaac) from DoorDash, which later develops into a somewhat uncertain relationship between them, primarily centered around physical intimacy. An attempt at a date takes place at the art gallery where Adnan works, featuring an exhibition of vivid and detailed folk art tapestries showcasing men engaged in various, intense scenarios of orgies and BDSM play (think rural-themed BDSM art). Whether intentional or not, these pieces serve as a blueprint for a future gathering between Adnan, Yariel, and several other delivery riders. This event turns out to be a rough mix of jockstraps, helmets, and exposed skin, portrayed by Castro in a suggestive series of still images, as if displayed on another gallery wall somewhere.

We go back to the previous summer, where Adnan encounters Sal (the neurosurgeon and occasional actor Ezriel Kornel), a sixty-something artist known for his tapestries, while biking through the woods upstate. An immediate, wordless connection develops between them, which leads to casual sex. However, what follows is an unexpected night of exploration that takes the movie in a wildly unconventional direction, diving headfirst into magical realism – and this isn’t the only time. The following scene moves the storyline back slightly, providing a moving background for Adnan’s curiosity in the preceding events.

Title “Drunken Noodles” explores the freedom and occasional lonely moments of single life, while subtly delving into the sweet-yet-restricted aspects of gay partnerships. One humorous yet poignant scene involves Adnan disclosing an awkward memory of unclear childhood sexuality to his chuckling partner, marking one of many secrets in a sex life filled with clandestine, private experiences. The story also includes fleeting, dreamlike moments advocating for total solitude as an alternative.

In this portrayal of a will-o’-the-wisp lifestyle, everything flows smoothly and pleasingly, on-the-spot. The filmmaking is effortless, from the easy, efficient cuts by Castro to Barton Cortright’s use of soft, natural light and rich, sweat-drenched colors. Multitasking crew members take on double or even triple roles, with Yegang Yoo earning credit for both the film’s minimalist, unconventional score and costumes that subtly reflect each character. This casual, spontaneous production style matches Castro’s wandering, contemplative nature as an artist – here, exploring everyday moments of bliss and imagination, found in a woodland stroll, an aesthetically pleasing backside, or a greasy takeout box.

Read More

2025-05-30 09:46