El Movimiento takes place during the first half of the XIX century, in a vast and desolated land which has fallen into anarchy. Several groups of armed men drift along the infinite Pampas demanding for support and food from the peasants. While there’s great rivalry among these groups, they all claim allegiance to the Movement, such the name of the political organization they say to represent. Among these drifting gangs there’s one led by Señor, an educated man who together with two followers intends to found a peaceful new order. While his enchanting words and manners seem appealing to the people, his methods reveal an unstoppable thirst for power. Continue reading
“Cautiva” features a solid performance by 23-year-old Barbara Lombardo that goes a long way in making up for the telenovela script.
Lombardo, who had small role in “The Motorcycle Diaries,” is amazingly believable as Cristina, a teenager who discovers that the man and woman who raised her are not her real parents.
Cristina’s biological parents were among the 30,000 Argentines who “disappeared” under the military dictatorship that ruled the country in the 1970s. She was born in prison on the day Argentina won the World Cup in 1978. Continue reading
Ana lives with the idealistic way of life of a religious family and avoid most subjects related to sex and other tabú themes. But love and rape came to her life and make her sink in a promicuos world that is very well shown by Nilsson. Continue reading
“The Seven Madmen” draws on two novels by Roberto Arlt to show us the opulent and seedy words of Buenos Aires in the 1920s. Erdosain (Alfredo Alcon) is a failed inventor who allows himself be pressured into giving up his dreams, marrying a woman he doesn’t know, and taking up a job as a bill collector that he grows to hate. A weak man, Erdosain can’t no to anyone, including an astrologer who enlists him as one of seven members in a secret anarchist society that sets out to destroy the Plaza de Mayo, Argentina’s religious, commercial and government center.
Much of the movie takes place in the working class rooming houses, brothels and tango bars of the period’s and it also shows us the era’s political and criminal underworlds. Although this a well produced picture with good costumes and sets, there is nothing glamorous about the places shown or the people who frequent them. Erdosain’s rented rooms are as sad and depressing as the life he leads that results in his embrace of violent anarchism. Continue reading
“I feel a little … I don’t feel good.” So says Veronica, the middle-aged upper-middle-class Argentinean woman who suffers a nasty bump on the noggin early on in Lucrecia Martel’s The Headless Woman (La Mujer Sin Cabeza) and spends the rest of the movie in a semiconscious stupor, a stranger in her own body. Watching Martel’s film, which premiered midway through the 61st Cannes Film Festival, it occurred to me that Veronica’s woozy disorientation was a pretty apt metaphor for Cannes itself, where one can reliably emerge from seeing a near masterpiece only to discover that everyone — or at least the influential industry trade newspapers — has declared the very same movie une catastrophe! That was certainly the case with The Headless Woman, which was the first (though hardly the last) of this year’s competition entries to be greeted with lusty boos at the end of its press screening, putting it in such esteemed past Cannes company as Michelangelo Antonioni’s L’Avventura and David Cronenberg’s Crash. (In one of those rare alliances of Franco and Anglo sentiments, Martel’s film spent most of Cannes scraping bottom in the daily critics’ polls conducted by the British trade paper Screen International and its Gallic counterpart, Le Film Français.) Continue reading
Historias extraordinarias tells the adventures of three men known only as H (Agustin Mendilaharzu, doubling as cinematographer), X (director Mariano Llinás) and Z (Walter Jakob). These adventures come across as self-conscious constructions and journeys happening in the here and now. But though the strongest literary influences on Llinás’ fascinating screenplay are fiction writer Jorge Luis Borges and disciple Adolfo Bioy-Casares, it would be wrong to label Historias extraordinarias as literary per se: Instead, a viewer would have to stretch back to the grand serial silents of Louis Feuillade for something as ambitious as Llinás’ detailed telling of the three separate, intertwined tales, all involving men on quests in situations that force them to question who they really are. Llinás jumps between the storylines over 18 episodes, usually devoting no more than about 15 minutes at a time to any single one. The governing concept uniting the tales is how each man begins with a specific task, and then veers away from the straight-and-narrow, bringing the job’s purpose into question. Continue reading
Paulina is a young lawyer with a promising career in Buenos Aires, who chooses to go back to her home town. Her father, Fernando, is a well known judge. Against his will, Paulina decides to teach in a suburban high school as part of an inclusion program. One night, after the second week working there, she’s brutally assaulted by a gang. With the disapproval of the people around her, she decides to go back to work, in the neighborhood where she was attacked, without realizing that her attackers may be even closer than she thought Continue reading