Aro Tolbukhin in the Mind of a Killer
(2002)
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Aro Tolbukhin in the Mind of a Killer
(2002)
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| Cast overview, first billed only: | |||
| Daniel Giménez Cacho | ... |
Adult Aro
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Carmen Beato | ... |
Sister Carmen
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Zóltán Józan | ... |
Teenage Aro
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Mariona Castillo | ... |
Teenage Selma
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Aram González | ... |
Young Aro
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Eva Fortea | ... |
Young Selma
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Jesús Ramos | ... |
Father
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Pepa Charro | ... |
Dada
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Xhévdete Bajraj |
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Margarita Farran |
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Ángeles Cruz |
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Ofelia Mex |
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Lynn Fainchtein |
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Rafael Cortes |
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Margarita Kenéfic |
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Aro Tolbukhin is a hungarian inmigrant that sets fire to seven people in an infirmary in a Mission in Guatemala, the movie traces back to see what made him do it, from his arrival in Guatemala to his childhood in Hungary.
This remarkable film dramatizes the story of the Hungarian merchant sailor and serial killer Aro Tolbukhin, and extensively uses documentary footage of its subject, shot in Guatemala during the time he spent in a Catholic mission in the country side, and when he was captured, interviewed in the jail of Pavón and finally executed by a firing squad. A work directed by a team of three filmmakers led by Agustí Villaronga (who won the Goya award for «Black Bread») the film combines footage in many formats (video, Super 8, 16 and 35mm), echoing the many levels that conform its cinematic discourse: besides from the Tolbukhin case, it covers the moving story of Carme Curt, an ex nun who had a strong emotional relationship with Tolbukhin; and the efforts of French filmmakers Lise August and Yves Keetman to bring his story to the screen in the 1980s: the impact of the material they shot of the real Tolbukhin and the people who knew him in Guatemala (a priest, his lawyer, a peasant), incredibly grows, as the dramatic sections told the viewer of the story behind the crimes. As it unfolds, the film reveals as a rich visual experience that never tries to hide its debt to imagination: it is illustrated by a black & white film-within-the-(color)film, called «The Uninhabited Dress», that elaborates a fictional and lyrical past to Aro's life as a child and adolescent, based on true facts, given in an interview by his old Hungarian nanny, Slamár Yulané. It is more an evocation than a reconstruction, for it is not a psychological reasoning about the actions of the killer, but an illustration of coincidences in his dramatic, tragic life. As it turns out, «Aro Tolbukhin» is like a Pandora's Box in reserve, that deserves to be seen without any prejudice.