A handful of children are left to their own devices in this subtle drama from Argentine filmmaker Celina Murga. Maria (Magdalena Capobianco) is a girl in her early teens whose family lives in an upscale gated suburb. Maria’s parents are going out of town for a week, and rather than leave her with relatives or hire a babysitter, Maria is put in charge of looking after her little sister Sofia (Eleonora Capobianco), with housekeeper Esther (Natalia Gomez Alarcon) serving as a nominal adult authority figure, though for the most part she lets Maria and the others do what they please. With only their parents bedroom off-limits, Maria and Sofia have the run of the house, and soon they and their friends Facundo (Lucas Del Bo), Quique (Federico Pena), Rodrigo (Ramiro Saludas) and Timmy (Mateo Braun) are spending their days exploring the place. As the kids begin creating their own rules to run counter to the ones their absent parents set down, Esther brings a young relative, Fernando (Gaston Luparo), to play with them, and the privileged kids begin to get a notion of the ways of the outside world. Una Semana Solos (aka A Week Alone) was an official selection at the 2008 Buenos Aires Film Festival. Continue reading
Eduardo is an obsessive, efficient worker in the oil industry, disconnected from any type of emotion. He seems to have enclosed his history in one of the rooms of the house in which he lives in Rio Grande. His lonely routine is altered when he is called to go to Ushuaia for a few days. Getting there and meeting an old friend and his family becomes a real test in his life and opens a door that allows him to rebuild his past, his present and, perhaps, his future. Continue reading
Esteban (Darío Grandinetti) and Molly (Cecilia Roth) have been married for over twenty years. On a cold morning in June the couple realizes they have hit rock bottom and that their relationship is not what it once was. With the city of Buenos Aires as their background, the middle aged couple will separate and go their own ways to look for what has now gone missing or to find what was keeping their relationship alive for all this time. Marriage examines the different aspects that make a man and a woman click, those moments where a bond can become harder than a rock, but it will also illustrate the downfalls and all the little things that make a relationship worth fighting for. Continue reading
In a small town of Entre Ríos, a German family is preparing to leave their farm, for reasons that will only be revealed much later. On the last day, the two teenage brothers, Brenda and Lucas, say goodbye to their friends while their mother closes up the house. But that sent-off is far from exposing what affects the characters’ lives and drama in words and events. Going back to the setting and tone of his short film Invernario, Maximiliano Schonfeld eludes the cliché of describing local habits and tales us to a rough world that always show more than what it actually features. The end of adolescence, sexual desire, a cracked notion of family, and class relations are some of the issues the film unfolds without raising its voice or telling us what to think or feel. A major contribution to this opaque realism with an opalescent light is the truth expressed by its non-professional actors, especially Brenda Krütli’s shaded beauty and Lucas Schell’s eyes and rustic gestures.
Jorge (Sergio Pángaro), a 40-year-old man, single, shy and circumspect, works as a nurse in a geriatric house. There, he looks after Romano (Alberto Laiseca), an old man who hardly walks and does not speak, with a special attention.
Jorge regularly keeps paper rolls with drawings. With Polo’s help (Diego Perdomo), a photographer neighbor of his, he makes a folder with these paintings, which together with a brief resume, he presents in a prestigious art gallery. To his surprise, these works are considered of great value and originality, and a few months later a successful exhibition makes this nurse suddenly get into the world of art and he starts to be a well-known artist.
He gives up his job as a nurse and takes Romano to live with him. It is only then when the spectator finds out that it is this last one who makes the drawings. Jorge looks after him with affection; he helps him and buys him all the necessary elements for him to go on drawing.
Gradually, he changes his social condition, his way of dressing and his general appearance, while he transforms his apartment with a more modern and elegant style. Continue reading
We will never know if the young university student that one day wakes up surrounded by two men covered in blood, one dead, the other wounded, is the perpetrator. Julia is pregnant with the child of one of them. The maternity ward of a women’s prison is the location in which most of the 113 minutes of Leonera’s plot takes place. Shot in Buenos Aires’ prisons, with the participation of true inmates and guards, the film “maintains some of the codes of prison films, although developed in the context of the relationship between Julia, the mother and her son”, explained Trapero in an interview with BBC Mundo. Continue reading
Quote:Four days’ captivity in a Tragic Holy Week, when the regime received Pope John Paul II and the radio and televisión recounted and showed how Videla ate his wafer and tríed to purge his sins. In the meantime, in the clandestine cells, thousands were being tortured and killed. This film is the catalog of the perceptions, memories, delirium, physical condiiion of a prísoner at the most horrible moments of his confinement: dead times dragging on in between torture sessions. The time when he realizes that he has a body made offragments. There maynot be in all Argentine cinema history, such a detailed exploration of the qualities and powers that a body may engender. Continue reading