Photographers Paco Moyano and Manolo Rodriguez find the most unconventional locations for their photoshoots. One such place is an elevated park overlooking Barcelona, where they suggest that their model hang off and then drop down a tree. During the shoot, a man passes them by as if their shoot is normal. Maybe that shoot is normal in Barcelona, a liberal beacon in Europe. But had this been, God forbid, a city in North America, the model would have turned a passer by’s head. See, Paco and Manolo mostly work with nude male models. Some of those models had jobs and left those jobs to pursue a more artistic line of work, like nude modelling and their own photography. Through these photos, Paco and Manolo have fostered an artistic community. Everything at Once, then, talks to Paco, Manolo, and their models about their journeys into the arts and their sexuality.

Paco and Manolo do their best by their models. They don’t exploit their models, who sometimes feel arousal during the shoot and perform sexual acts. Surely, the photos themselves have their own power, but it’s as if Everything At Once‘s mission to de-eroticize the photos don’t replace that intention with anything, really. As I write earlier, it also does its best to mix footage of those photoshoots with interviews of the models. But those interviews can only provide insight within these models’ minds if there was more of them. Those segments feel too few and far between. Instead, what the film provides are more interviews of Paco and Manolo. All the two do is talk on top of each other, as if the director forgot to rein them in. This film would have benefited with a clearer emotional path and if it guided its subjects in much better ways.