Giving Ernesto his own conflicting views on the proceedings that mostly come to light in English subtitled, Spanish phone exchanges with his wife, Butler never lets us forget about the unequal power dynamic that exists between the two men. Impossibly, however, Chulo works much better than it should, thanks to the performances of its two charismatic leads as well as the sensitivity of Butler's writing. And in Irish writer-director John Butler's first American movie, Papi Chulo, it's a light that Sean thinks Ernesto might be just the right person to help him find.Ī gently comic tale of unlikely friendship between a white, gay, well-to-do white collar weatherman and a straight, married Latino day laborer who barely speaks English, on the surface, of course, it's just the latest in a long line of films about white people learning to navigate life better with the aid of a new minority friend. A light that Sean didn't even know he had because the shed was the domain of his ex, Ernesto's ability to find the light and turn it on with ease is something that the single weatherman desperately wants.Įxcept, having been sent home on leave when he suffered a breakdown live on air, in Sean's case, the light he needs to locate is the one that will put his life back on track. When the heartbroken Sean (Matt Bomer) brings Ernesto (Alejandro Patiño) home to paint his deck, one of the first things that the Latino day laborer does is turn the light in the tool shed on.
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