Chilean director Sebastián Silva delivers a comedy laden with awkwardness in "Rotting in the Sun," co-penned with Pedro Peirano. The film delves into the lives of unpleasant characters awash in luxurious boredom, as explicit male nudity punctuates the scenes.

In the film, Silva plays a troubling version of himself: a self-absorbed, ketamine-addicted individual residing in an upscale area of Mexico City. Quoting from Emil Cioran's philosophical work, he tries to stop his dog Chima from an unsavory act. His search for self-affirmation through Google only leads to the discovery of a more well-known namesake.

This fictional Silva inhabits a building under construction, owned by a wealthy Mexican, Mateo (Mateo Riesta). The setting subtly criticizes the ongoing gentrification of Mexico City, perpetrated by American and European "expats." Other indications are scattered. For example, in background conversation, an English-speaking man likens the city to a mix of New York and L.A.

Struggling with artistic dissatisfaction and a constant drug-induced haze, Silva's character heads to Zicatela, a gay nudist beach. Here, he broods over existential thoughts while embracing his dark musings as if they're badges of intellectual might. Watching Silva lay bare such a despicable version of himself is both compelling and cringe-inducing.

Cinematographer Gabriel Díaz adopts a handheld camera approach to capture a pivotal moment at sea. Here, Silva rescues writer-comedian Jordan Firstman, another exaggerated portrayal. The event, however, barely lifts Silva's spirits and only reinforces his cynical view on digital culture.

The screen presence of Firstman's overly expressive persona stands in contrast to Silva's grim, misunderstood character. Despite the tension, they end up collaborating on a new TV show, all for financial survival. They’re not people you’d want to know, which is typical of Silva’s films.

The narrative gains depth when it turns to Señora Vero, played by Catalina Saavedra. She's a timid housekeeper managing the whims of Sebastián, Mateo, and eventually Firstman. Unlike her cunning role in Silva's earlier work "The Maid," Saavedra’s portrayal here captures the essence of a vulnerable yet shrewd woman. Vero is in desperate need of employment but isn't without her wits. When Firstman inquires about Silva’s location using a translation app, Vero holds her cards close, providing Saavedra a chance to exhibit her character's inherent humanity.

While Silva's films often explore his privilege in various social settings, "Rotting in the Sun" doesn't shy away from showing the darker inclinations of its characters. Although the movie might not break new ground in social critique, its bold mockery succeeds in jabbing at societal arrogance.

Through an array of morally ambiguous characters, "Rotting in the Sun" examines privilege, existential dread, and the complexities of human interaction. It is yet another exercise in testing the audience’s patience and tolerance by Silva, who continues to probe the grim aspects of human behavior.