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Don't Die Without Telling Me Where You're Going (1995)
"No te mueras sin decirme adónde vas" (original title)

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Ratings: 7.1/10 from 550 users  
Reviews: 12 user | 4 critic

It is the fantastic story of a couple that has the chance to live for centuries loving one another because of various reincarnations.



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Title: Don't Die Without Telling Me Where You're Going (1995)

Don't Die Without Telling Me Where You're Going (1995) on IMDb 7.1/10

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5 wins & 5 nominations. See more awards »


Cast overview, first billed only:
Mariana Arias ...
Oscar Martínez ...
Mónica Galán ...
Tincho Zabala ...
Don Mario
James Murray ...
William K.L. Dickson
James Murray ...
William K.L. Dickson
Manuel Cruz ...
Leopoldo's Father
Jairo ...
Carlitos (voice)
Ricardo Fasan ...
Vando Villamil ...
Leopoldo's Father (young)
Sandra Sandrini ...
Alicia Schilman ...
Leopoldo's Mother (young)
Mauro Iván Palermo ...
Leopoldo (kid)


This movie is a declaration of love to cinema that is used as a metaphor for the universe itself. We are the films and God is projecting them, including this one with Rachel and Leopoldo, who in a former life literally co-invented cinema as an assistant of Thomas A. Edison named William K.L. Dickson. Written by Michel Hafner <>

Plot Summary | Add Synopsis


Drama | Fantasy | Romance


PG | See all certifications »




Release Date:

4 May 1995 (Argentina)  »

Also Known As:

No te mueras sin decirme adónde vas  »

Company Credits

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Features Un Chien Andalou (1929) See more »

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User Reviews

Beyond birth, life, and death
6 November 2009 | by (United States) – See all my reviews

Eliseo Subiela has created a movie which appeals to all audiences throughout the world. Everyone, no matter your race, age, background, can relate to the themes of life, death, and the unknown. He is trying to get across the idea that the life we live here on earth may not be as black and white as we believe or as dictated by religious ideals. Subiela uses visual imagery which the untrained eye may pass over, but at second glance, Subiela's vision is obvious. He uses the black and white tiled floor as an indicator into the psyche of his protagonist Leopoldo. As Leopoldo and Rachel are meeting for the first time, they end up in the lobby of the movie theater. The floor is a sea of black and white, starkly contrasted tiles. Subiela is showing us that Leopoldo, at this point, is stuck in the boxed ideal that nothing happens after death, we just cease to exist. He walks away from their conversation confused and watches as she walks across a crowded street, while cars drive through her body. Our eyes are drawn to the crosswalk which is black asphalt with white lines, but the lines are not complete and are not the same stark contrast of white and black; we begin to see some shades of gray. Leopoldo is open to his relationship with Rachel and learning more about where she came from and how she is able to be apart of his world as a spirit from another. Near the end of the movie, Leopoldo is visited by Pablo, again our eyes are drawn to the floor. The floor is the same black and white tile as the movie theater, but this tile is not brightly colored. The tile is dirty, broken, and is not the perfect black and white pattern. Subiela shows us through the use of color and pattern, how the protagonist is transformed through his encounters that will forever change his vision of the relationships in his life and how the cycle of life is so much more than birth, life, and death.

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