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Sons and Daughters (2001)
"Figli/Hijos" (original title)

 |  Drama  |  1 February 2002 (Italy)
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Ratings: 7.2/10 from 221 users  
Reviews: 3 user | 2 critic

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Title: Sons and Daughters (2001)

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Credited cast:
Carlos Echeverría ...
Javier Ramos
Julia Sarano ...
Rosa Ruggeri
Victoria Ramos
Enrique Piñeyro ...
Raul Ramos
Woman in labor
Rest of cast listed alphabetically:
Montse Alcoverro ...
Doctor (as Montserrat Alcoverro)
Marco Bechis ...
Sleeping man on a train
Delia Cazeaux ...
Julia Borman, the obstetric
Marcelo Chaparro ...
Militar In Civilian Dress
Evita Ciri ...
Javier's fiancee
Adrián Fondari ...
Militar In Civilian Dress
Blanca Martínez ...
Hospital's Employee
Pablo Razuk ...
Militar In Civilian Dress
Paula Romina ...
Javier's mother (in the dream)
Santiago Traverso ...
Javier's father (in the dream)


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Sin memoria... no hay futuro.




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Release Date:

1 February 2002 (Italy)  »

Also Known As:

Filhos da Tortura  »

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User Reviews

Historical denunciation or existential drama?
6 February 2002 | by (Bologna, Italy) – See all my reviews

It's too easy and it may be reductive, in dealing with such a film, to say that it is about the children of Argentinean desaparecidos, that it is about an obscure moment of present history, that it is a witness or an accusation concerning a hidden series of crimes that are aimed to carry to the surface. That is surely the intention of the director, but the audience may freely say that they're not interested in the subject; moreover, all this may lead to think that it consist of a sort of documentary or a film-dossier with TV features. It isn't. Without subtracting the importance of the historical denounce underneath, another way of looking at it has to be taken into account: it is also (or above all) a film on doubt and deception. Which son, more than the protagonist of the story, had ever been better deceived? His parents are not his real parents, nevertheless he has been guiltily snatched out by his true mother's arms, and his father is an unpunished criminal. Besides, the illusion of having found a sister (rejected at the beginning, hoped little by little as the story proceeds) is mocked by a reality that, together with horror, carries on doubts and uncertainties: the true identity of the boy comes out, but the one of the girl who fights for truth, persuaded to be his twin sister, doesn't. Trapped in an authentic existential drama, the boy can't do but searching a solution that has to be, as well as tragic, symbolic and meaningful, since his life has now, no longer, any meaning. Thus, the movie goes beyond the historical facts and becomes a private but universal tragedy of deception.

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