Argentine LGBT cinema

[3] Deborah Shaw theorises that new forms of co-production and different avenues of funding may be promoting more queer film in Argentina.

[4] In his 2016 article, Guillermo Abel Severiche also positions queer Argentine cinema as "[conceptualizing] desire as a means to defy a discourse of power", referring to Plan B when he asserts that "the construction of a (homo)erotic sexual tension questions the validity of sexual categories and/or their very existence", breaking a fixed cultural construct.

[5] The idea of critiquing society by empowering characters through queer narratives had been mentioned by Lucía Brackes of Los Andes in 2012, in discussion of the much older 1969 Fuego.

[5] Mark James writes that "Berger's distinctive style [is] both tensely sexual but also sensual and romantic" in how the camera is often "lingering on the parts of gay imagination and sensuality that all gay boys grow up trying to process — the sight of a man's arms, hands, legs, hair… handsome faces and the male body"; the sexuality but also the innocence means that though imagery of the body is not uncommon in film, "Berger works it at a wholly different level", as he intentionally avoids using stereotypical gay imagery in his shots.

[7] The Fujoshi film reviewers look at the 2016 film Taekwondo, which Berger co-directed, identifying how even though it is set in a downtown hotel without homoerotic fighting scenes it shows male physicality with "a lot of physical contact and the bodies (and private parts) detail shots" (sic); the "extraordinary masculinity" is still captured despite its slow and emotional tone.