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Free for All (1976)
"Piedra libre" (original title)

7.6
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Ratings: 7.6/10 from 28 users  
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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, ... See full summary »

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(short story), , 1 more credit »
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Title: Free for All (1976)

Free for All (1976) on IMDb 7.6/10

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Cast

Cast overview, first billed only:
Marilina Ross ...
Eugenia Alonso
Juan José Camero ...
Ezequiel Labourdé
Mecha Ortiz ...
Amalia Pradere - Amalia Grande
Luisina Brando ...
Amalita
Flora Steinberg ...
Mercedes Alonso
Enrique Alonso ...
Vicente
Francisco de Paula ...
Plácido Alonso
Adriana Parets ...
Vicente's wife
Jorge Petraglia ...
Carancho
Walter Soubrie ...
Tordo
Jorge Povarché
Jorge Nervi
Inés Murray
Lilian Riera
Cecilia Cenci
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Storyline

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

Plot Summary | Add Synopsis

Genres:

Drama

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Release Date:

16 September 1976 (Argentina)  »

Also Known As:

Das Versteckspiel  »

Company Credits

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Color:

(Eastmancolor)
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User Reviews

 
The final opus of one of the great Argentinian film-makers
2 March 2008 | by (Argentina) – See all my reviews

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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