In the early 2000s, Pedro Almodóvar turned down an offer to direct “Brokeback Mountain” out of fear that Hollywood wouldn’t be ready for what his much more unabashedly gay and colorful interpretation would have been. As someone who likes “Brokeback” but wishes it was more explicitly queer, I was happily anticipating Almodóvar’s newest film, which has been described as his return to gay cowboys and response to “Brokeback.”  

Premiering at the Cannes Film Festival earlier this year, the director’s second English-language feature, “Strange Way of Life,” is a short-lived but enjoyable time in the West. The ever-endearing Pedro Pascal and lovely Ethan Hawke star as lost cowboy lovers, who, unlike Jack and Ennis of “Brokeback”, have already had a relationship with one another and are now reconnecting later in life when a murder occurs. The two have excellent chemistry and are both beloved and acclaimed actors, and with Almodóvar’s direction, all the pieces were in place for a masterpiece. The only flaw is its length. It’s short, clocking in at a mere 30 minutes. Don’t get me wrong, I love short films. Here, though, I just wish we had more time to actually enjoy the characters, cinematography, and score.  

Silva (Pascal), a handsome and quiet cowpoke, rides into the aptly named Western town of Bitter Creek to see the sheriff and his former lover, Jake (Hawke). The two have not seen each other in 25 years and pretty much immediately fall back into their old relationship, with some resistance from Jake. The next morning, we find out this resistance is because Jake is investigating Silva’s son as the primary suspect in a murder. Jake believes Silva’s visit is to protect his son from the charges and lets him know that succumbing to his desire for Silva again was a mistake- his only concern is to bring Silva’s son to justice (if he’s even guilty).  

The writing isn’t great; it’s very exposition-heavy. Several of the few scenes between characters, even Silva and Jake, seem to only occur to provide information to the audience. It was necessary to build the plot, yes, but I honestly don’t think the plot should’ve existed. Almost every aspect of the story is half-baked, and in a film that’s only thirty minutes long, I’d rather have the time devoted to what the film has down pat: its acting, direction, and cinematography- even if that means the plot is just vibes. Expositional scenes drag out, and it can be frustrating- we only have thirty minutes! I want to see gay cowboys! The plot is somehow incredibly simple while also being too convoluted to expand upon in a short film. I wouldn’t mind the plot being borderline parodic; most of Almodovar’s films I enjoy are campy, and the melodrama isn’t the issue- but because it tried to have more depth than time allowed, it instead feels bogged down in uncomplete story building and rushed in the areas that are much more enjoyable.   

Despite this, the film is never hard to watch; as I said, Pascal and Hawke’s chemistry and the technical aspects of the film are basically jingling keys to me, which is why it’s so unfortunate that it feels like the majority of the film is spent trying to build a patchy plot. The few character scenes we do have of Silva and Jake, notably the flashback to their younger selves the first time they were together and the final scene, hint at the great depth this film could’ve had if it were given more time. When the film does abruptly end, it feels like we are just getting started. Personally, I’m fine with this being a short, self-indulgent, angst-filled cowboy time. Disappointing that there wasn’t more, but it was fun while it lasted.