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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Albertina, a pretty but wet university student, is hired by a bedridden widow to take care of her and her four children. Helping out around the house she soon discovers the kids live a life... See full summary »
A group of poor people living on the bare minimum in a slum, trying to survive in a world that seems to have no place for them. With a tone raw and realistic story portrays their daily tragedies, and their struggle to survive.
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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