EDGE Interview: Argentine Filmmaker Matías De Leis Correa Discusses his Streaming, Seductive Feature 'Since The Last Time We Met'

Argentinian filmmaker Matías De Leis Correa's stunning sophomore feature, "Since The Last Time We Met" ("Desde La Ultima Vez Que Nos Vimos") had its world premiere at last year's OutShine Miami Film Festival and has now been released theatrically here in the U.S.

Reminiscent of the '70s play and film "Same Time Next Year," (but decidedly more serious) this two-hander is an absorbing meditation on love, longing, desire, repression and heartache. The film centers on workaholic 30-something Victor (Patricio Arellano) who runs into his old flame David (Esteban Recagno) on the streets near his home in Buenos Aires. 15 years ago, when they were teens, the two were in a secret sexual relationship and now they find themselves revisiting and rekindling even though David is married to a woman – and still deeply closeted. Victor has carried a torch for David, despite the fact that David ghosted him all those moons ago.

The deft script, by De Leis Correa, often feels like a stage play, but leans cinematic thanks to cinematographer Evelyn Flores. The music, by Fernando Nazar, helps create a star-crossed lovers feel throughout the 81-minute running time. Arellano and Recagno have incredible chemistry which adds to the sexy and seductive atmosphere.

De Leis Correa has one previous feature credit, the poignant "Convalescent," about a family coming to terms with an older relative's memory illness. He has directed a number of short films and music videos.

"Since The Last Time We Met" has played many Festivals throughout the world, including BFI Flare and Reeling Chicago, and is now playing in theaters courtesy of Dark Star Pictures. The film has also been released on digital and demand.

EDGE had the pleasure of chatting with the writer-director about his film.

EDGE: Matías, why did you want to tell this particular story and was it at all autobiographical?

Matías De Leis Correa: Well, I made my first movie, "Convalciente" ("Convalescent)" in 2020 and it was about a family. I wanted to make my second motion picture a romance story. Romance, as I understand romance, that you can feel something for a person that doesn't have to last forever. You may love a person for a week, for a minute or maybe for a whole life... I love all that kind of movies, like (Ingmar) Bergman and those talky movies. Almodóvar, is another... I really want to (say) that beyond this love story between Victor and David, the main thing was how time goes by. You never know when it's going to be the last time you're going to see a person you love, a person you really care for. I think that the main thing in the movie is Victor never knowing if the next encounter he has with David is going to be the last one... It's not (auto)biographical. But I've been Victor. I've been David...

EDGE: The gift the movie gives the viewer, whether he's gay, straight, bi, is a moment of "what if?" We all have that one person we miss, the one that got away, or the one that we never even hooked up with. And the film asks, what would happen if I met this person again?

Matías De Leis Correa: Absolutely. As you just mentioned, let's say you dated someone when you were 20, it (won't be) the same to reunite with that person, 15 years later 3– in bed, having a coffee, It's going to be absolutely different. Because our body changes, how we feel, how we connect...

EDGE: This film is almost like a stage play. Can you speak a little bit about finding the structure of the film?

Matías De Leis Correa: ...My three movies (including the most recent) are all this way. I love intimacy. I don't need to go to lots of locations and places when the important thing happens in a certain place, particularly since (the characters) have to be hidden all the time... these clandestine encounters... I love working with realism in movies, and what's more real than being in your 30s in your apartment and drinking beer and having a date? I really want it to feel like home... a world where you relate to that simplicity of loving a person. We are here on our couch, having this beer and telling you how much I hate you or how much I love you. Sharing this moment. That's what I intended to do with my three movies. So that's a direction decision.

EDGE: The film also deals with internalized homophobia, especially when it comes to David. He loves Victor, but he refuses to say it.

Matías De Leis Correa: David is so scared. I think that his life was paused the day he decided not to see Victor again. And when they meet, he is suddenly 18 years old again... He has to deal with all the phases of accepting yourself, accepting the fact that you may love a person of the same gender. Those things, Victor has already gone through...

EDGE: Can you speak a bit about casting your two terrific actors?

Matías De Leis Correa: Yes. Patricio Arellano is a great singer and actor in Argentina. He had never done cinema before... The last song (over) the credits, Patricio sings it. He's really famous in Argentina in musical theater. And I always wanted to work with him... We had a friend in common and I told her I'd love to give him the script. Patricio lives in Spain but at that moment he was in Argentina for three months for work. She gave me his contract... He said, "Yes, please, I want to read it." He read it and sent me a voice (mail) at 2 a.m., saying, "Matias, I just read the script. I loved it. I would love to be Victor. And if you don't want me, I don't care. I want to watch this movie. Please invite me to the premiere." And I was like, "Oh my God, yes, of course, let's meet." We met and it was kind of a love at first sight thing, because we became friends the same moment.

I've known Esteban Recagno since I was 22. We shared some theatrical plays. I'm an actor, too. Then we worked on other movies, where I was assistant director or in production and he was an actor. We said we have to make our dream come true, working together. He's living in Peru right now. And he came to Argentina because he wanted to be David.