7.5/10
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18 user 18 critic

Garage Olimpo (1999)

In the 70's, eighteen year-old Maria Fabiani lives with her French mother Diane in an old house in Buenos Aires, subletting rooms and giving classes to illiterate adults in the slums. One ... See full summary »

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Cast

Cast overview, first billed only:
...
Carlos Echevarría ...
Felix
Enrique Piñeyro ...
Tigre
Pablo Razuk ...
Tex
...
Ana
...
Diane
Paola Bechis ...
Gloria
Adrián Fondari ...
Rubio
Marcelo Chaparro ...
Turco
Miguel Oliveira ...
Nene
Ruy Krieger ...
Francisco
Marcos Montes ...
Víbora
...
Hija de Tigre
Gonzalo Urtizberéa ...
Capellán militar
Roly Serrano ...
Escribano (as Rolly Serrano)
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Storyline

In the 70's, eighteen year-old Maria Fabiani lives with her French mother Diane in an old house in Buenos Aires, subletting rooms and giving classes to illiterate adults in the slums. One of the tenants, Felix, has a non-corresponded crush on Maria. When the teenager is abducted in her house by the Argentinean army accused of subversion, her mother seeks her out in the 23rd Precinct where one of the military without uniform tells her that they are heading with Maria. While Diane desperately tries to find information about her daughter, Maria is submitted to torture in the hideous underground of the Garage Olimpo. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

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Details

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Release Date:

2 September 1999 (Argentina)  »

Also Known As:

Garage Olimpo - kidutuskammio  »

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Connections

Follows Buenos Aires: Sarajevo e ritorno (1999) See more »

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User Reviews

 
Sensitive Subject, Insensitive Film
1 May 2007 | by See all my reviews

I though that it was hard, if not impossible, to watch, and not because of the horrors it depicts but by the way they were depicted. Imagine what Costa Gavras could have done with this true horror story. What I object to is the idea the need to denounce, which I subscribe to, is enough. What about showing it to us with the power of powerful cinema. I feel that the eagerness of the filmmaker, maybe even the justifiable anger, didn't allow him to see it clearly from a cinematic point of view. Or, if this was a cinematic point of view, I mean, a choice, then, I didn't like it at all. I was more disturbed by the way the movie was shot than by the movie itself. Well intentioned I'm sure, but, unfortunately, that's not nearly enough.


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