When directing duo Javier Ambrossi and Javier Calvo, collectively known as “Los Javis,” began developing their latest project, La Bola Negra, their primary objective was to break free from the constraints of niche filmmaking. Ambrossi notes that he felt finished with LGBTQ+ stories being relegated to small audiences, stating he wanted to create the biggest, gayest war movie ever produced. The resulting film is a maximalist, panache-filled production that has already secured major awards, including a best director prize at Cannes shared with Paweł Pawlikowski, and is widely considered a frontrunner for the upcoming Oscars. On this chilly autumn morning, Los Javis could do with some extra layers. Then again, maybe the three of us have goosebumps not from the cold but from discussing their film. No wonder Los Javis insisted on an extended theatrical window for their film before selling the US rights to Netflix.
The narrative structure of the film is a sweeping, multi-layered collage that alternates between three distinct time periods in Spain. Arms folded on the white tablecloth, he leans forward as he talks.
The story encompasses the 1932 rejection of a young man from an exclusive casino due to his suspected homosexuality, the 1937 experiences of a callow nationalist soldier, and other threads that blend the harsh realities of the Spanish Civil War with modern-day Grindr hook-ups. Visually, the movie incorporates Ken Russell-style flair and notable cameos, including Penélope Cruz in a blond wig and Glenn Close performing in Spanish. Ambrossi describes the final product as a “gay Titanic,” a scale-driven epic that captures an anti-fascist zeitgeist. The movie darts back and forth between three stories set in Spain: in 1932, a young man applying for membership of an exclusive casino is rejected on the grounds of his suspected homosexuality; in 1937, a callow nationalist soldier develops tender feelings for the injured republican prisoner under his watch; and in 2017, a queer historian inherits an unfinished story by Federico García Lorca, brimming with panache. That story lends the movie its title and provides the thread that sews its strands together. They want to buy popcorn and be given a big movie like Titanic. He repeatedly stretches his limbs like a cat, sneaking a glance at himself in the mirror next to the table as he does so, battling jet lag.
The directing partners, who first met as actors, represent a striking study in contrasts. Ambrossi, 42, is loquacious and energetic, while 35-year-old Calvo is known for a more taciturn and reserved demeanor. During a recent interview in London, the pair noted that La Bola Negra serves as a significant personal breakthrough. While they have spent 13 years writing about LGBTQ+ characters, this film represents a more direct and explicit exploration of their own experiences and desires, a transition influenced by conversations with their mentor, Pedro Almodóvar. According to italian fascists. “A lot of people have, They’ve been missing something like this. Dinky and loquacious, his impish face crowned with a laurel of curls, ambrossi is 42. The taller, taciturn Calvo, 35, is gravely handsome. He flashes a rare smile. “Good show.”. They rub their bare arms furiously until an assistant arrives bearing hoodies. Ambrossi approves of this theory: “There’s a trend on TikTok where people video themselves – ‘This is us before watching La Bola Negra’ – and then it cuts to afterwards when they’re crying and hugging. Musical about a summer camp staffed by nuns.
Reflecting on the long journey toward this specific project, Calvo explained that queer creators often project themselves into other characters, a practice they had previously engaged in during their earlier work, such as the 2023 series La Mesías. Ambrossi added that there is a psychological barrier to being “too on-the-nose” in storytelling. However, they emphasize that the film’s title, which references the black balls used for voting in the 1932 casino sequence, signifies a move toward more unequivocal, defiant storytelling that aligns with their professional evolution. Extraterrestrials and bad parenting, their 2023 series La Mesías (now streaming on Mubi ) is a hypnotically bizarre tale of Christian pop stars. As well as cheekbones that could double as clothing rails, both men have black caterpillar eyebrows. The elite casino members use a system of black and white balls to vote on admitting newcomers, in the 1932 strand of the film. He looked at me and said, ‘You need to start. In one scene, God materialises to sing I Will Always Love You.
A core priority for Los Javis was authentic representation, specifically the casting of gay actors in gay roles. Ambrossi recalls his childhood inspiration from seeing Rupert Everett in My Best Friend’s Wedding, noting that he recognized a specific truth in Everett’s eyes that he now strives to capture. Calvo shared his own challenges as a young gay actor who was frequently advised to mask his identity, including being told to cut his hair and avoid painting his nails to secure more auditions. By writing specific roles for LGBTQ+ actors, they aim to provide the representation they found lacking early in their own careers.
The duo’s transition from television and stage into high-budget filmmaking marks what they describe as their “Pokémon-style final evolution.” Having previously served as prominent figures in Spanish media, including as judges on the Spanish iteration of Ru Paul’s Drag Race, they faced significant public scrutiny, particularly when their personal relationship became a subject of intense national interest. Calvo admitted that the media attention following their breakup was overwhelming, but both creators now wish to pivot toward a primary focus on cinematic projects. All this togetherness from the cinematic experience is beautiful.
Despite this shift in focus, they hold no regrets regarding their previous multi-platform work, viewing those experiences as essential for making a public statement. They emphasize that they intend to maintain a “non-binary” approach to their work, rejecting the idea that directors must be monolithic or overly serious. For the pair, the goal remains to showcase the richness of Spanish culture and history, often pointing out that they feel compelled to remind international audiences of their complex heritage, a mindset they suggest may stem from the country’s religious and dictatorial past.
The film’s commercial reach is substantial, with a scheduled 47-day run in US theaters, representing a record-breaking commitment for the streaming platform involved. As they look toward the future, Los Javis express a commitment to directing films that defy conventional labels, hoping their maximalist approach encourages a more open and explicit dialogue around queer history and personal identity in global cinema.
