Franco (Nicolas Armengol) and Hernan (Carlos Echevarria) start chatting with handsome younger man Fede (Emiliano Dionisi) in an online chat room. After teasing the couple by baring some flesh on camera and turning the conversation suggestive, Fede is invited round to the couple’s home for a hook-up. Upon arrival he is met by the two men and things turn a little awkward as they make small talk before moving on to the threesome that they are all expecting to be the culmination of the evening.
The Third One is written and directed by Argentinian Rodrigo Guerrero. The movie serves up exactly what you would expect from the title with Franco and Hernan looking to spice up their sex life by inviting a younger man into their bed. After a lot of bravado is exchanged online it comes as a surprise when the reality of the encounter between the three men is pretty awkward. Franco and Hernan make small talk as they try to ease Fede into the situation whilst he starts to slowly reveal details about himself.
By the time the actual threesome comes around the film is three quarters over and it doesn’t quite serve up the pay off we expect viewers will be hoping for. A lot of the extended sequence is shot with an unusual camera angle and much of the action is capture from the waist up. Anyone hoping for lots of titillation and nudity will be sorely disappointed. The most action you see in the film comes from the porn clips used throughout the online chats in the first part of the film.
It feels like there was something lost in translation at some point in The Third One. The film isn’t particularly an exploration of anything. The addition of Fede into the bed of Franco and Herman doesn’t cause any conflict or provoke any meaningful discussion. It’s really just about two older men having their way with a nubile young man who’s up for it.
When the credits roll it’s hard to really understand what Guerrero was aiming to achieve when he set out to make The Third One. The characters are fairly two-dimensional and save for Fede being the object of lust for Franco and Herman, there seems to be little else going on. The Third One isn’t as sexually explicit or tantalising as its title would suggest and the final sequence seems to feel it has unravelled something much more profound than it actually does.