Out of the blue, a meek, old painter begins receiving love letters from Rosaura. This intrigues his fellow boarding house tenants, so they involve themselves into his relationship until one day the mysterious Rosaura appears.

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Cast

Credited cast:
Juan Verdaguer ...
Camilo Canegato
Susana Campos ...
Rosaura / Marta Córrega / María Correa
María Luisa Robledo ...
Doña Milagros Ramoneda - viuda de Perales
Alberto Dalbés ...
David Réguel
Amalia Bernabé ...
Srta. Eufrasia Morales
Héctor Calcaño
María Concepción César ...
Matilde
Nina Brian
Lili Gacel
Beto Gianola
Miguel Ligero
Enrique Kossi
Rest of cast listed alphabetically:
Nelly Beltrán
Julián Bourges
Rodolfo Crespi ...
Lustrabotas
Edit

Storyline

Out of the blue, a meek, old painter begins receiving love letters from Rosaura. This intrigues his fellow boarding house tenants, so they involve themselves into his relationship until one day the mysterious Rosaura appears.

Plot Summary | Add Synopsis

Genres:

Drama | Mystery

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Details

Country:

Language:

Release Date:

6 March 1958 (Argentina)  »

Also Known As:

Rosaura at 10 O'Clock  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

2.35 : 1
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User Reviews

 
One of the best movies I have ever seen
26 August 2007 | by (Los Angeles, CA) – See all my reviews

Once in a while I see some really good movies...movies that stay in my mind days even weeks after I see them. The last time I was this taken aback by a movie was when I first saw Guru Dutt's Pyaasa. It also helped that I saw it in its original cinemascope in a very large screen in the Los Angeles County Museum of Art's Latin American Cinema retrospective.

Done in a Rashomon-like telling and retelling of a story taking different angles from different characters, I think Rosaura a las 10 tops Kurosawa's tale by not only telling the same story multiple times, but having each perspective actually tell a literally different story. In addition, whereas Rashomon became a little redundant to me, Soficci kept the story interesting by keeping the reality of the situation--that what we see is not all what it is--as evident in all the stories, thus destabilizing even the "subjective truth" of each perspective, questioning each view and emphasizing the objectivity of the camera. See for example the maid, who lurks about in all of the stories. No one sees her lurk around, but the camera records it nonetheless.

All of these allow the characters be, showing them as they are and as human as possible. The movie ends the same way as it begins, and the way it does this is nothing short of genius.

As you can tell, I'm still trying to wrap my head around this movie. It's incredibly multi-layered, and the form (especially the night scenes after the painter and Rosaura's wedding) incredibly reflects the themes of the movie. This movie for me ranks very high, certainly alongside the likes of Milestone's All Quiet on the Western Front, Welles' Magnificent Ambersons, Dutt's Pyaasa, Davies' Distant Voices Still Lives, Bernal's Himala, and Anderson's Royal Tenenbaums. It's a pleasure to encounter such a rewarding movie.


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