Name: This Is Not a Comedy
Genre: Drama, Comedy
Released: 2021-10-05T00:00:00+00:00
Cast: Gabriel Nuncio, Cassandra Ciangherotti, Adriana Paz, Cecilia Suárez, Manolo Caro

The opening scene of This Is Not a Comedy (2021) is a stand-up routine gone wrong: Gabriel Nuncio’s character, also named Gabriel, bombed on stage with a set about his own infertility. It’s an awkward, cringe-inducing moment that sets the tone for Rodrigo Guardiola and Gabriel Nuncio’s Mexican comedy-drama—a film that defies easy categorization and refuses to be boxed into conventional storytelling.

The premise is simple but layered: Gabriel, a struggling comedian, finds his life upended when his best friend, Melissa (Adriana Paz), asks him to be her sperm donor. Complicating matters further is Leyre (Cassandra Ciangherotti), a woman he meets who claims to have a mystical connection with the cosmos. The film’s title is both a warning and an invitation: this isn’t the kind of comedy you’d expect, nor is it strictly a drama.

Where This Is Not a Comedy succeeds is in its performances, particularly Nuncio’s portrayal of Gabriel. He carries the film with a compelling blend of self-deprecating humor and vulnerability. His stand-up scenes are the film’s emotional and comedic core, showcasing his ability to pivot from laugh-out-loud one-liners to moments of poignant introspection. The way he delivers lines like, “I’m not funny, I just have bad luck,” makes you believe in Gabriel’s struggles as both a comedian and a person trying to navigate life’s absurdities.

Adriana Paz as Melissa is another standout. Her dynamic with Nuncio feels authentic and grounded, built on a shared history that the film teases but never fully explores. Their conversations about parenthood, friendship, and the choices they’ve made are some of the most engaging moments in the film. Paz brings warmth and depth to her role, making Melissa more than just a plot device.

Cassandra Ciangherotti as Leyre is equally compelling. Her character’s connection to the cosmos could easily have veered into camp or surrealism, but Ciangherotti plays it with such earnestness that it becomes oddly endearing. The film’s cosmic elements—Leyre’s musings about the universe, her belief in signs and omens—are visually interesting and add a layer of surrealism to the narrative. However, they also serve as a recurring distraction from the more grounded emotional beats.

The direction by Guardiola and Nuncio is equally hit-or-miss. The film’s pacing is its biggest hurdle. It meanders through plot points without sufficient payoff, leaving several storylines feeling underdeveloped. For instance, the cosmic subplot, while visually interesting at times, often feels tacked on, disrupting the flow of the narrative.

The film also struggles with tone. It wants to be a dark comedy, a romantic drama, and a surreal exploration of human connection all at once, but it never fully commits to any single vision. This tonal inconsistency is This Is Not a Comedy’s greatest weakness. Moments of genuine humor—particularly in the stand-up sequences—are undercut by abrupt shifts into melodrama.

One of the film’s recurring themes is the idea of resetting interactions, reminiscent of Mike Birbiglia’s Don’t Think Twice. In that film, characters often hit a reset button to try again, but here, it feels forced and gimmicky rather than insightful. The moments where Gabriel and Leyre reset their conversations to “start over” add little to the narrative beyond a superficial exploration of communication.

The casting of Cecilia Suárez as herself adds a meta-layer that could have been intriguing but ultimately serves little purpose beyond name recognition. Similarly, Manolo Caro’s brief appearance as Lauro feels tacked on, failing to integrate seamlessly into the narrative. The film’s attempt at dark comedy often falls flat due to a lack of consistent tone.

The cinematography is another area where the film falters. While there are moments of visual interest—particularly in the cosmic sequences—the overall aesthetic lacks cohesion. The film jumps between different visual styles without a clear reason, making it difficult to settle into a consistent viewing experience.

The sound design and score are equally uneven. There are moments where the music enhances the emotional beats, but other times, it feels overly intrusive. The stand-up scenes benefit from minimalist scoring, allowing Nuncio’s performance to shine through.

This Is Not a Comedy is a film that will leave audiences divided. Its performances are strong, and its ambitions are admirable, but its tonal inconsistencies and pacing issues hold it back from greatness.

The film’s strengths lie in its performances and the moments where it fully commits to its comedic or dramatic beats. Nuncio’s stand-up scenes are particularly effective, showcasing his ability to balance humor with heartfelt emotion. The dynamic between Gabriel and Melissa is another strong suit, grounded in moments of genuine emotional connection amid the absurdity.

However, the film’s weaknesses are equally glaring. Its tonal inconsistencies make it difficult to fully invest in any single story line or character arc. The cosmic subplot feels underdeveloped and often disrupts the flow of the narrative. The pacing issues further compound these problems, making the film feel uneven and disjointed.

In comparison to other films like Don’t Think Twice and The Drama, This Is Not a Comedy lacks the tight storytelling and consistent tone that make those films memorable. It’s a film that wants to be many things at once but never fully commits to any single vision.

Ultimately, This Is Not a Comedy is a film that will appeal to a niche audience. Those who enjoy dark comedies with surreal elements and strong performances may find something to appreciate here.