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A King and His Movie (1986)

La película del rey (original title)
Buenos Aires movie director, very fond of the legend of the King of Patagonia and Araucania, decides to make a movie about it. Despite of financial troubles, technical problems, misfortune ... See full summary »

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8 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
Arturo
...
David Vass (as Julio Chaves)
...
Desfontaines
Roxana Berco ...
Lucia
...
Madama
David Llewelyn ...
Lachaisse
Miguel Dedovich ...
Oso
Marilia Paranhos ...
Lulu
Ricardo Hamlin ...
Maxi
Rubén Patagonia ...
Quillapan
César García ...
Bonnano
Carlos Rivkin
Sergio Raso
Hilda Rey
Jesús Berenguer
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Storyline

Buenos Aires movie director, very fond of the legend of the King of Patagonia and Araucania, decides to make a movie about it. Despite of financial troubles, technical problems, misfortune and desertions, he undertakes the journey to Patagonia for the film with a second-rate actor company. Neglected by the producer and shortly after by the company, he will make the movie alone, in a surreal landscape like mad. Written by Vinicio Matteucci <vinix@sirius.pisa.it>

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Comedy | Drama

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28 August 1986 (Argentina)  »

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A King and His Movie  »

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User Reviews

 
movie-making as an illustration of Murphy's Law
30 November 2010 | by (United States) – See all my reviews

Movie-making can sometimes be, at best, a desperate enterprise, which is one reason why the process lends itself so well to satire. In this slick but all-too accurate Argentine parody a director's devotion to his pet project gradually turns to obsession when Murphy's Law takes control: anything that can go wrong does go wrong, beginning on the eve of photography with the producer's disappearance and a mutiny among the cast. The lengths to which the frustrated auteur pursues his dream, a dramatized history of a 19th century French pioneer's ill-fated quest to declare himself king over primitive Patagonia, soon lead him into delusions of grandeur equal to those of his subject, and as a result his film grows more absurd and abstract as it continues. The satire works on several levels simultaneously, with the director himself becoming a surrogate emperor, and his megalomania suggesting a parallel to the country's turbulent political leadership.


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