I am happiness on earth, currently showing on Netflix (at least in Australia) reminds me of many art-house films I saw in the late 90's, early 00's; either in an alternate cinema or on VHS from a better video library.

It does not surprise me that many reviewers here didn't "get it". It was slow-paced and as is the case with many art-house movies, the viewer is almost a voyeur looking into the different scenes and the lives of the different characters.

The party scene was euro-lush taking the viewer there and building in excitement with the music and lighting. The rest of the movie has moments of bleakness; settings include bathrooms with graffiti; lounge rooms set in warehouses etc; it was all visually interesting.

One disappointment was that the actor playing dancer Octavia could not dance. To be honest he probably gave it a red hot go; for the untrained ballet moves can be very difficult; but Octavia's solo show was pretty embarrassing to watch. Other dance scenes also seemed lacking in technique.

What also surprised me was how many reviewers missed that the lengthy "ménage et trios" scene in the middle was the director's movie (as the credits rolled afterwards). I was quite confused while watching it (not to mention being questioned by my other half about the "soft porn" I was watching...lol) but the penny dropped eventually.

All in all I found this a stimulating movie to watch; much of the interest lies in the supporting details. It has stayed with me since I watched it and probably will for some time.

Boring even the sex scenes is wasted, even few of such did not save the movie. I forwarded to watch only sex scenes but that too was dissapointing.

Emiliano (Hugo Catalán) is a film director who lives his life as if it were one of his films and frequently appears unable to discern truth from his rather complicated imagination. He is a good looking man who has sex (and films it) with other young men- sometimes just innocent lads, sometimes professional hustlers - but they all have a certain "look", and are usually just as commitment-phobic as he. At times, it is imaginatively told by way of extremely artistic dance and the constantly moving camerawork does make this quite an interesting film to watch - but only for about half an hour; thereafter it largely descends into a semi-pornographic boy on boy on girl on boy (you get the drift) story leaving everyone as unsatisfied - even the one thread that might have actually involved some element of genuine affection frustrates rather more than it illuminates. I did find the rolling nature of his existence quite resonating on a shallower basis - just when you saw him with one gorgeous man he would find a better looking one, and so he would move on... Perhaps that is the only authenticity in this meandering drama - the grass will always be greener and therein lies one of life's most imponderables; when can you actually ever be content. Emilio von Sternerfels and Alan Ramírez stand out as two of his conquests who turn out to be just a little bit more than his sex toys.