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The Blossoming of Maximo Oliveros (Filipino: ''Ang Pagdadalaga ni Maximo Oliveros) is a 2005 award-winning Filipino coming-of-age film about a gay teen who is torn between his love for a young cop and his loyalty to his family. The film competed under 1st Cinemalaya Film Festival in 2005. The film was the official entry of the Philippines to the 79th Academy Awards. It holds the distinction of being one of the very few digital films released in 2005 to do well at the tills. It also made the rounds of international film festivals.
Synopsis:
Maxi (Nathan Lopez) is a 12-year-old effeminate gay boy who lives in the slums with his father and brothers who are petty thieves. The story primarily revolves around the conflict between his love for handsome young police officer Victor (JR Valentin), and his family's illegal livelihood. Neo-realist in orientation, the film is a tale of lost innocence and redemption amidst the poverty of Manila's slums.
Maxi behaves like a girl, wearing clips or hairband in his hair and bangles on his wrists and even wearing lipstick. He is teased by neighbors and former school friends. His sexuality is, however, fully accepted by his two brothers and by his father. One night he is accosted by two men who attempt to molest him, but is saved by the appearance of a Victor. Victor does not have a girlfriend, and his sexuality is never revealed. He rebuffs Maxi's advances, and when Maxi's father and brother bogs' friends teaching Victor a lesson. Maxi came and rescue the pitiful Victor and he cleaned Victor's wounds and cooks breakfast for Victor and felt sorry to his friend. Victor became affectionately stoking Maxi's head even when the boy steals a kiss.
After Maxi's father is killed by Victor's boss, Maxi resists Victor's attempts to renew their friendship. The closing scene shows Maxi walking past Victor who has parked by the roadside on Maxi's way to school. He ignores Victor as he passes him, hesitates momentarily as he crosses the road, then goes on his way. This last scene is a homage to the final scene of "The Third Man".
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