This near-silent black and white film from Argentina tells the story of a city that has lost its voice, stolen by Mr. TV, and the attempts of a small family to win the voice back. Similar in design to early German expressionist films.
CHRONICLE OF A BOY ALONE, is an indictment of a fascist regime running roughshod over its most vulnerable citizens, its children. Focusing on the bleak life of eleven-year-old bad boy Polin... See full summary »
Young aristocrat Arnaud de Maule hires female private detective Claude Alphand to investigate a strange cult, the Church of the Final Revival, that tried to recruit his girlfriend Chloé, who then disappeared, and it now stalks him.
The film follows the parallel lives of two brothers of Danish ancestry in the "Pampas" of the Brazilian-Argentine-Uruguayan rural area. The rough life these "gauchos" (South American ... See full summary »
Carlos Hugo Christensen
José de Abreu,
Maria Zilda Bethlem
After the end of the military dictatorship in Argentina in 1983, Floreal is released from prison. Instead of returning to his wife, he wanders through the night of Buenos Aires. He meets ... See full summary »
Fernando E. Solanas
Miguel Ángel Solá,
In this adventurous experiment in storytelling, secret identities, missing persons, lost treasures, exotic beasts and desperate criminals are only a few of the elements woven into a grand tapestry of mysteries.
Jorge Luis Borges was a great writer. Adolfo Bioy Casares was a good writer with infrequent flashes of very good. Occasionally, they wrote together. Curiously, the quality of their joint work always sank lower than the quality of each writer's output; they seemed to cause each other to lower their standards. The story for this movie is an example. It narrates the resistance of a small group against an invasion and takeover of an imaginary country in an abstract, bloodless and totally unrealistic fashion. The dialog has been written by Borges and the director Hugo Santiago. The lines are frequently stilted and literary; a great writer is not necessarily a good screenwriter. The actor's delivery of the dialog tends to the monotonic. The direction is uneven; the movie proceeds briskly at times, but it has very slow stretches. Action scenes are not very believable.
What makes this film watchable is the extraordinary black and white cinematography by Ricardo Aronovich; in spite of its virtuosity it never interferes with the action. After a brilliant career in Argentina Aronovich moved to Europe where he became one of the best cinematographers in the world.
The subject of this film (and some scenes) caught the attention of the military dictatorship that took power in Argentina in 1976. Parts of the original negative were destroyed. The version we watch now is made from the surviving negative and positive copies.
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