Eugenia's parents die. She goes to live with Amalita, her close friend. Her grandmother Amalia Pradere a wealth landlady, takes the orphan under her protection. After a chain of events, ...
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In a rural school in the middle of the mountains, a girl who is starting to become a woman feels the profound need to discover her true identity. She does not know who her father is and she... See full summary »
Paula Galinelli Hertzog,
Eugenia's parents die. She goes to live with Amalita, her close friend. Her grandmother Amalia Pradere a wealth landlady, takes the orphan under her protection. After a chain of events, disappearing her grandchild, Eugenia will take Amalita's place. She will inherit not only Amalia's possessions but also Ezequiel's love, Amalita's widower. Written by
Nicolás A. González Baroncelli
The final opus of one of the great Argentinian film-makers
Looking to this last film of one of the greater Argentine film-makers, not discussed father of the Argentinean New Wave, you can introduce yourself in many of the clues, not only of this country's cinema, but in the ideas and cultural biases of the Buenos Aires intellectuals at the sixties and seventies. Torre Nilsson puts together in this film several of the many profound issues he explores in his filmography. Firstly, there is a new picture of one of his preferred subjects, i.e., the ruling classes of his country, mainly based on landownership. Secondly, he explores sexuality on a fine manner, linking it with death and charm in a non-bizarre way. Finally, the ambiguous realism that links Torre Nilsson to Fellini blows up in the strange end of the film.
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