Official Competition follows Lola Cuevas, a famous director hired by a rich businessman to make a great film. She brings together Félix Rivero, a flashy movie star, and Iván Torres, a serious stage actor, to play rival brothers. Most of the movie takes place in a huge empty building during nine days of rehearsals. Lola pushes the men through cruel and strange tests while their egos turn the project into a dark farce.
The film gives Lola most of the power in the room, and she repeatedly outsmarts and humiliates the two men. Her lesbian identity appears through comments about her girlfriends and a scene where she teaches the men how to kiss a woman for the film. A few jokes and speeches mention macho behavior, nationalism, genderless people, immigrants, refugees, and a hostile unfair world. These ideas are visible, but the main story targets acting styles, fame, awards, money, and pride in the film world rather than a modern political cause.
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Breakdown
These are the editorial factors and ratings behind our score for Official Competition.
Woke representation / casting
Lola is a prominent female director who controls two famous male actors. That gives the film a visible female-leader focus, and her lesbian identity adds another identity element. The central cast does not form a broad diversity pattern or a one-of-each lineup.
18%
Woke political dialogue
The film includes a speech about men, women, and genderless people. Other lines mention macho behavior, nationalism, an immigrant child, African refugees, and a hostile unfair world. The final question raises patriarchal criticism, but Lola rejects the idea that the film carries a fixed manifesto. These moments are brief beside the main comedy about acting.
29%
Identity-driven story themes
Lola is the central authority during nearly every rehearsal. She repeatedly outsmarts, humiliates, and controls two famous men while their pride makes them the joke. The film also makes her lesbian identity visible through comments about her girlfriends and a lesson about kissing a female co-star. The main target remains actor vanity, so the gender and sexuality material supports the comedy instead of replacing it.
55%
Western institutional / cultural critique
Not present. The film mocks a billionaire, Hollywood, awards, and art-world vanity. It does not turn those jokes into a modern activist attack on capitalism, Western institutions, Christianity, or traditional family life.
0%
Woke character or canon changes
Not relevant. The movie is an original story about a fictional film set. No established character, real historical figure, or real event is changed for identity reasons.
0%
Anti-woke backlash and complaints
Not present. No sustained anti-woke complaints were found about the film. Available audience discussion focused on acting, satire, pacing, and the strange ending, while praise is not backlash.
0%
Creator track record context
Cached context gives Cohn and Duprat low scores and describes their satire as aimed at both progressive and conservative habits. Andrés Duprat has no clear activist or identity-politics pattern. Producer Jaume Roures has a stronger left-wing and socially engaged record, but no clear DEI or queer pattern. The wider team is mainly industry-focused.
13%
Production
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