The Drama: A Marriage of Discomfort and Empathy
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.

Kiss/Crash uses AI technology to turn a car crash into a kiss, over and over again. As the minute long video progresses, the crashes increase in speed and the preceding images become more pornographic, violent and chaotic. Me Kissing Me transforms from a video of the artist kissing himself, into cinematic lovers, religious idols, political celebrities and uncanny creatures performing the same act while the artist's own image fades in and out. Finally, Crash Me, Gently allows the viewer to control the pace and intensity of the crash to kiss. Viewed on an old-school TV set, the viewer controls the piece using a foot pedal. The harder the pedal is pressed, the more dramatic, disjointed and extreme the ‘kiss’ images become.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
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By depicting 4 different stories, Director Sergio Tovar Velarde keeps the focus on the shared humanity and search for love (both self and romantic) of various gay Mexican men.