Aristotle and Dante Discover the Secrets of the Universe
Written and Directed by Aitch Alberto
Starring Max Pelayo, Reese Gonzales, and Eva Longoria
Rated PG-13
Runtime: 1 hour, 36 minutes
Now playing in theaters

by Megan Robinson, Staff Writer

“No light pollution” is a repeated refrain by Aristotle Mendoza (Max Pelayo) and Dante Quintana (Resse Gonzales), our titular characters in this coming-of-age drama set in 1980s El Paso, Texas. At first, it’s simply Dante’s way of explaining the millions of bright stars visible in the middle of nowhere; soon, it becomes their way to speak about seeing everything in their universe clearly. While the sentiment is ultimately touching, the film as a whole fails to capture the same magic in this refrain, more often than not being full of light pollution — too many elements ultimately hide the brilliant love story this could be.

Aristotle and Dante meet at a public pool, with the stoic Ari charmed by Dante’s gentle kindness. In Ari’s opening voice over, he proclaims he chooses isolation from his peers: “I was afraid I’d turn into one of these idiots obsessing over girls and what they want to do with them. So, I stayed away from everyone. Alone was better. Safer.” Dante couldn’t be further from the other teens, though. A reserved and eccentric artist, he’s exactly the kind of person Ari can look up to, to find a kinship and real love with. Their friendship blossoms, and the two become part of each other’s families over the course of one scorching and rainy summer. That is, until Dante has to move to Chicago for a year.

One of the most interesting aspects of the film is the narrative structure. Aitch Alberto’s adaptation of Benjamin Alire Sáenz’s novel rips the rug right out from under you in the film’s earliest moments; just when you think Ari and Dante will be spending an entire school year together, Dante is whisked away, kept at bay from the audience. We get glimpses of his life in Chicago through letters he writes to Ari, while focusing on Ari’s growth throughout the school year. While the structure is interesting, and allows Alberto to tell Ari’s story through wonderfully framed and scenic visuals, it’s the first sign of the murkiness of the film to come. Suddenly, Dante becomes obscure—we know all about the girls he’s meeting, the trains he takes, and the eventual secret of his sexuality—but without seeing him in the moment. The intent might be that his growth is mirrored with Ari’s, as Ari is on screen but Dante’s voice over is off; instead, in a visual medium, we become more attached to who we can see instead of who we hear.

This struggle to connect with Dante as just as much of a protagonist as Ari is amplified by the performances of our leads. Both play convincing teenagers—from different movies. Pelayo’s performance is introspective and natural, while Gonzales speaks every word as if it’s magical and mystifying. This makes some jokes land, such as his reading of the poem “Death” by William Carlos Williams, but he struggles to make certain dramatic moments land. It’s only in the last third of the film that both actors get their footing in the characters—they’ve both changed within the text, and Pelayo and Gonzales nail the darker turn that comes with age and the struggle to exist in a homophobic society.

The most admirable aspect of the film is Alberto’s direction and visuals. Each composition shines in its own right, particularly in regards to their framing. When Dante exits Ari’s life, loneliness is amplified in every frame; even if Ari is with other people, they’re just out of frame, and he’s never center frame, letting us sit in negative space right alongside him.

Cinematographer Akis Konstantakopoulos also captures the landscape of El Paso with a kind of reverence — its wide open deserts look as if they just might hold the secrets of the universe within them. Alberto’s direction strengthens the tone of the piece, as well. She never holds back for a teenage audience, keeping the tone grounded even when it seems too many plot points are thrown at you. While Ari saving Dante from an oncoming car is played seriously, it’s also just a footnote that adds little to strengthen their relationship.

Ultimately, Aristotle and Dante Discover the Secrets of the Universe is a well-made and well-meaning film. It’s hazy, though, and as good as it looks, it struggles to fit all the pieces together. Characters come and go in a flash, like Ari’s classmate Elena (Luna Blaise), who signs Ari’s cast, then disappears until a New Year’s party appearance, then bows out again. The reason why Ari’s brother is imprisoned is revealed as if it will be a pivotal moment, yet, again, feels like a footnote rather than the catalyst for Ari’s positive change it’s depicted as. As much as the film attempts to deliver a compelling teen love story, it simply falls short.