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In Bed
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In Bed (En la cama)
film poster
Directed byMatías Bize
Written byJulio Rojas
Produced byAdrián Solar, Christoph Meyer-Wiel
StarringGonzalo Valenzuela, Blanca Lewin
CinematographyGabriel Díaz, Cristián Castro
Edited byPaula Talloni
Music byDiego Fontecilla, Guido Goñi
Distributed byCeneca Producciones, CMW Films (Germany)
Release date
  • 2005 (2005) (Viña del Mar International Festival)
Running time
85 minutes
CountryChile
LanguageSpanish

In Bed (Spanish: En la Cama) is a 2005 Chilean erotic drama film directed by Matías Bize and starring Blanca Lewin and Gonzalo Valenzuela.

It was Chile's submission to the 79th Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee.[1][2] Nevertheless, the film garnered ten awards at various film festivals.

Plot

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In a Santiago motel room, two young middle-class individuals are engaged in a sexual encounter. They had met while leaving a party and don't know each other's names. As the night progresses and they continue to have sex, they eventually reveal their names to each other; he is Bruno and she is Daniela. In between their intimate moments, they share more details about their lives, their sorrows, and their fears. Bruno pretends that the woman calling him on his cellphone is his ex-girlfriend and confesses that he is moving to Belgium for postgraduate study. Daniela admits that her fiancé can be violent but she plans to marry him anyway. Their initial passion evolves into sharing confidences and even tenderness, but she insists that this will be her last fling before getting married.

Cast

[edit]

Remake

[edit]

The 2010 film Room in Rome is loosely based on In Bed.

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

In Bed

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Synopsis

Plot

The film opens in a room in Santiago, , where two strangers, Daniela and Bruno, lie in bed following their initial sexual encounter after meeting at a earlier that evening, where Bruno offered her a ride home. As they recover, they introduce themselves and begin conversing casually about the party they attended, gradually shifting to more personal topics such as past relationships while watching together. Their discussion leads them to share a bath, which reignites their passion and results in a second sexual encounter, after which Bruno gives Daniela a Reiki massage. During this intimate moment, Bruno reveals that he is scheduled to leave for Belgium in a week to pursue a post-doctorate degree, prompting Daniela to remark that "casual sex means nothing," a statement that visibly wounds him. The erotic tension between them evolves into tenderness as they engage in a third, more affectionate sexual encounter, though it is briefly interrupted when Bruno accidentally calls Daniela by his ex-girlfriend's name. Throughout the night, interspersed with these moments of , their conversations deepen, touching on fears, sorrows, and the transient nature of their connection; they discuss topics like vintage cartoons, aesthetics, and a broken during one encounter, with Bruno vividly describing the potential implications of his sperm inside her. They exchange revelations about past traumas and major personal secrets, under the assumption that they will never see each other again, fostering a sense of fleeting honesty. As dawn approaches, Daniela decides to treat the night as a , leaving the motel without a farewell, leaving their potential future interaction ambiguous.

Themes and Style

The delves into themes of intimacy and transience by portraying a as a escape, where two strangers forge a brief, intense connection within the confines of a room. This encounter allows the characters to reveal their vulnerabilities and introspective struggles, marked by , helplessness, and defeat in the face of modern urban isolation. Through their confessions, the narrative critiques toxic relationships and the search for human connection, emphasizing how fleeting interactions can momentarily alleviate emotional desarraigo (uprooting) in contemporary life. Stylistically, Bize opts for a naturalistic approach that underscores realism and emotional rawness, confining the action to the motel's delimited to symbolize the claustrophobic boundary between inner subjectivity and external . Long takes and subtle camera movements create a voyeuristic intimacy, mimicking real-time progression during erotic sequences that blend sensuality with underlying fragility, while everyday, minimalistic dialogue prioritizes and non-verbal cues over exposition. This contrast between physical proximity in the bed and persistent emotional distance reinforces the film's exploration of transient bonds, using the room's four walls as a for in personal defeats.

Production

Development and Writing

The screenplay for In Bed (original title En la cama) was written by Chilean Julio Rojas, marking an early collaboration that explored the dynamics of a brief, intimate encounter between two strangers. Director Matías Bize, whose background included directing low-budget independent features such as his 2003 debut Sábado, became involved to helm the project and shape it into a contained dramatic set almost entirely in a single room. Development on the began in the years following the release of Sábado, with production ramping up around for a 2005 premiere. The success of Bize's prior work at film festivals played a crucial in obtaining for this second feature, highlighting the difficulties in ambitious Chilean projects without established precedents. The production was structured as an international co-production between and , with Adrián Solar serving as producer for the Chilean company Ceneca Producciones and Christoph Meyer-Wiel handling the German side through CMW Film Company, which facilitated broader distribution and resources. This partnership was essential for realizing the 's intimate, dialogue-driven style on a modest .

Filming and Technical Aspects

Principal photography for In Bed took place in 2004, primarily within a single motel room in Santiago, , a deliberate choice that confined the action to one location over the course of a single night to intensify the sense of intimacy and tension between the characters. The production utilized format, which facilitated a low-budget approach typical of early independent Chilean cinema while enabling close, unobtrusive capture of the performers' interactions in the limited space. Cinematographers Gabriel Díaz and Cristián Castro handled the visuals, employing varied camera techniques that evolved from quicker cuts and multiple angles in the initial superficial encounters to longer, more focused takes emphasizing facial expressions as the dialogue deepened, often incorporating handheld shots to convey immediacy and natural lighting to reflect the unadorned environment. Editor Paula Talloni assembled the footage to preserve a real-time flow, aligning the rhythm of scenes with the narrative's progression through the night and underscoring the characters' evolving vulnerability without artificial acceleration. The shoot operated under modest financial constraints, reflecting the resource-limited nature of the project as a co-production between Chilean and German entities, which prioritized and on-set precision over extensive setups. In , composers Diego Fontecilla and Guido Goñi crafted the score to subtly enhance the emotional undercurrents, integrating minimalistic cues that complemented the raw, dialogue-driven intimacy without overpowering the performances.

Cast and Characters

Principal Cast

The principal cast of In Bed consists of Blanca Lewin as Daniela, a woman trapped in an abusive engagement, and Gonzalo Valenzuela as Bruno, a restless young man facing relocation to for a post-doctorate degree. The film employs a format with no supporting cast, placing emphasis on the leads' performances during extended intimate scenes that drive the narrative's emotional intimacy. Valenzuela and Lewin were chosen for their evident chemistry during auditions, and the roles represented key early career milestones for both actors, who were relatively unknown prior to the production.

Character Analysis

Bruno is portrayed as an emotionally guarded figure whose interactions reveal a deep-seated yearning for stability amid personal turmoil. Preparing to relocate to for a post-doctorate degree, his move represents an attempt to break free from stagnation and the lingering effects of past relationships that have left him vulnerable. In the intimacy of the night, Bruno's tenderness emerges through reflective discussions on and personal experiences, contrasting his initial reserve and highlighting a desire for genuine connection despite his transient circumstances. This guardedness unravels gradually, as noted by director Matías Bize, who emphasizes how such moments expose unexpressed emotions and a search for emotional grounding. Daniela, in turn, is depicted as resilient yet marked by victimization from life's hardships, her emotional reactivity underscoring a facade of strength built on denial. Her decision to proceed with marriage illustrates the weight of societal pressures, compelling her to prioritize conformity over personal fulfillment despite inner conflicts. This resilience allows her to engage assertively in the encounter, but revelations of her troubled background reveal a guarded core that fades into vulnerability when confronted with potential loss. Bize describes her as part of a dynamic where personal truths surface, fostering a temporary bridge to empathy amid isolation. The characters' arcs illuminate gender dynamics in vulnerability, with Bruno's tenderness—manifest in non-verbal expressions of hurt and intellectual openness—contrasting Daniela's more reactive guardedness shaped by external pressures. Their mutual revelations, driven by the belief in no future encounters, cultivate fleeting empathy, allowing raw truths to emerge without leading to lasting resolution or commitment. This interplay underscores the emotional distance between genders, as Bize observes, where silence and shared intimacy briefly humanize their guarded selves. The portrayals by Gonzalo Valenzuela and Blanca Lewin effectively channel these psychological layers, drawing from their own experiences to deepen the characters' authenticity.

Release and Reception

Premiere and Distribution

In Bed had its world premiere at the Locarno International Film Festival on August 3, 2005, where it competed in the main competition section as part of a selection featuring 12 world premieres. The film generated early buzz through subsequent festival screenings, including at the Viña del Mar International Film Festival later that year, and it earned the Espiga de Oro for Best Film at the Valladolid International Film Festival. These appearances highlighted the film's intimate narrative style and helped secure further international attention. Theatrical distribution began domestically in Chile on November 17, 2005, handled by Bazuca Films in association with producer Ceneca Producciones, marking a key step for Chilean independent cinema at the time. The release achieved modest results, attracting 44,841 spectators, reflective of its niche appeal as an erotic drama focused on interpersonal dialogue rather than broad commercial elements. Internationally, the film saw limited theatrical rollout, including in on July 14, 2006, and in on October 25, 2007, distributed by Black Forest Films (formerly CMW Film Company). Chile selected In Bed as its official submission for the Best Foreign Language Film category at the , though it did not receive a . Following its limited theatrical runs, In Bed became available on starting in 2008, with DVD releases such as the U.S. edition by Koch Lorber Films on March 4, 2008. Streaming options emerged post-2007, expanding accessibility through platforms that supported international arthouse titles, though specific regional availability varied. The film's distribution strategy emphasized festival circuits and select markets, aligning with its low-budget production of approximately $300,000 and emphasis on critical rather than mass appeal.

Critical Response

Critics praised In Bed for its authentic portrayal of intimacy and the strong performances by leads Blanca Lewin and Gonzalo Valenzuela, which anchored the film's emotional core despite its minimalist setup. of the highlighted Lewin's expressive acting and the film's wistful capture of a one-night stand's erotic appeal, noting Bize's ability to evoke depth in a low-budget, single-location narrative. Similarly, Amber Wilkinson in Eye for Film commended the actors' fine work and the interestingly framed shots that mitigated the confined setting. However, some reviewers criticized the film for its predictable plot and limited scope, with the single motel room constraining narrative momentum and leading to strained sequences. Ed Gonzalez of Slant Magazine described it as a perplexing mashup of Before Sunrise and Tape, lacking originality and philosophical insight. Wilkinson also noted the story's formulaic elements, such as revelations about past partners and a condom mishap, which undermined the intimacy, while the sex scenes felt unconvincing due to the actors' overly polished appearances. Nick Schager, writing for The Evening Class, called it a sluggish rehash devoid of romance, labeling the drama "piss-poor" amid its focus on scripted banter over genuine tension. The critical consensus was mixed, with aggregating a 40% approval rating based on five reviews, reflecting divided opinions on its emotional resonance versus structural limitations. Themes of vulnerability and fleeting connection found some appreciation within Latin American cinema circles for their raw exploration of human isolation, though the film's controversial erotic content contributed to its underwhelming performance of $215,000 worldwide.

Accolades and Awards

In Bed garnered significant recognition in Latin American and international film festivals, accumulating 10 awards that underscored its impact as a Chilean independent production in the erotic drama genre. The film won the Gran PAOA award for Best Film at the 17th Viña del Mar International Film Festival in 2005. It also secured the Espiga de Oro (Golden Spike) for Best Film at the 50th Valladolid International Film Festival, marking a surprise victory for the low-budget Chilean entry. At the Guadalajara International Film Festival, lead actress Blanca Lewin received the Mayahuel Award for Best Actress, highlighting her performance in the intimate two-hander narrative. Additionally, the film earned the Audience Award at the Havana Film Festival, along with the Best Screenplay prize and third place Coral award, contributing to its four wins there. The film's accolades extended to nominations in major international competitions. In , In Bed was submitted as the country's entry for Best Foreign Language Film at the but did not receive a . It also contended for the Goya Award for Best Spanish Language Foreign Film in 2007 without winning. These honors positioned In Bed as a breakthrough for Chilean indie films in the erotic drama category, demonstrating the viability of minimalist storytelling on the global stage. The production received no major wins or nominations at the or .

Legacy

Remake

In 2010, Spanish director released (Habitación en Roma), a loose adaptation of the 2005 Chilean film In Bed (En la cama), which relocates the central scenario to a hotel room in and reimagines the protagonists as two women engaging in an extended night of erotic exploration and personal confessions. The film was produced by Morena Films and stars as Alba, a free-spirited Spanish woman, and as Natasha, a reserved Russian traveler, whose chance encounter unfolds almost entirely within the confines of the room, emphasizing themes of vulnerability and desire. Medem has acknowledged In Bed as a key inspiration for the premise, drawing on its intimate, dialogue-driven structure while infusing his own stylistic flourishes. Unlike the original's tighter, more concise narrative focused on a heterosexual couple, Room in Rome adopts a looser adaptation approach, incorporating cultural clashes between the Spanish and Russian leads to heighten emotional tension and revelations, such as family secrets and past traumas shared through conversation and . With a runtime of 109 minutes, the film extends the scenario beyond the original's brevity, allowing for more expansive visual and sensual depictions, including frequent and explicit erotic sequences that underscore the characters' evolving connection. These elements contribute to a more meditative pace, blending sensuality with philosophical undertones about human bonds. Upon its release on May 7, 2010, in following a at the Málaga Film Festival, Room in Rome received mixed critical reception, praised for its bold intimacy and performances but critiqued for occasional pretentiousness and uneven pacing in its erotic focus. The film's emphasis on female desire and same-sex dynamics marks a notable departure from the source material, expanding its confessional elements into a fuller of identity and fleeting romance.

Cultural Impact

In Bed (original title: En la cama) played a pivotal role in the emergence of the "novísimo cine chileno," a wave of innovative Chilean filmmaking that began in 2005, by exemplifying low-budget, intimate dramas focused on personal relationships. The film's single-location structure and raw exploration of a one-night encounter helped pioneer a style of emotionally driven, minimalist narratives that influenced subsequent Chilean independent cinema, including director Matías Bize's own later works like The Life of Fish (2010), which adopted similar confined settings to delve into human connections. This approach contributed to the normalization of erotic and relational themes in regional indie scenes, where depictions of and vulnerability became more commonplace in post-dictatorship Chilean films addressing personal liberation. The film significantly boosted the careers of its lead actors, Blanca Lewin and Gonzalo Valenzuela, who were both established in television but gained prominence in cinema through their authentic portrayals. Lewin, in particular, received the APES Award for in 2006 for her role as Daniela, propelling her to leading parts in acclaimed projects such as The Life of Fish, where she continued to explore complex emotional dynamics. Valenzuela's performance as Bruno similarly elevated his profile, leading to roles in films like Normal con alas (2007) and establishing him as a key figure in Chilean drama. For Bize, In Bed solidified his reputation for emotional authenticity in relationship-centered stories, with critics noting his ability to capture charged, realistic interactions that resonated internationally. Academically, In Bed has sparked discussions on gender and sexuality in post-2000 Latin American cinema, particularly how it portrays fleeting encounters as sites of power negotiation and identity exploration amid neoliberal influences. Scholars analyze its dialogue-heavy structure as a lens for examining sexual dynamics and alternative family models in contemporary Chilean society, contributing to broader conversations on embodiment and relational intimacy in the region. The film has garnered a modest cult following through festival circuits, including its world premiere at the 2005 Locarno Film Festival, and availability on streaming platforms, where it appeals to audiences interested in introspective erotic dramas.

References

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  2. https://www.eyeforfilm.co.uk/review/en-la-cama-film-review-by-amber-wilkinson
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