Rubén is a lonely truck driver who has been taking the motorway from Asunción, Paraguay to Buenos Aires, Argentina for years, carrying wood. However, today's journey is different because of... See full summary »
Germán de Silva,
Nayra Calle Mamani
Vargas, a 54 year old man, gets out of jail in the prvince of Corrientes, Argentina. Once released, he wants to find his now adult daughter, who lives in a swampy and remote area. To get ... See full summary »
The film tells the life of Tito Pereyra since his childhood in a town of Tucuman (with an absent father) until the 1980 s in Buenos Aires, when democracy was restored. During that period he... See full summary »
Juan lives in clandestinity. Just like his mum, his dad and his adored uncle Beto, outside his home he has another name. At school, Juan is known as Ernesto. And he meets María, who only ... See full summary »
Mario and Ana, in voluntary exile from Buenos Aires, live in a remote Argentine valley with their 12-year-old son Ernesto. Mario runs a school and a wool cooperative; Ana, a doctor, heads a... See full summary »
A couple of friends work for a taxi driver to rob his passengers, but they feel like they're getting ripped off. They decide to plan their own robberies, but they are amateurs and things ... See full summary »
Leonardo Favio brings to us a tragedy, it's to say, an art-film
In its new film, Leonardo Favio brings to us -as always it does- a pure, simple and magical story where it turns to the Romance of the Aniceto and the Francisca (Romance del Aniceto y la Francisca), that he had filmed forty years ago. This new version is a ballet wonderfully performed and filmed in simple but realistic designed scenes. Like in most of Favio's great films, any spectator can locate the story in the time: the car that occupies the scene in the first sequence says clearly in which decade we are. Shortly, almost no other temporary reference appears, except for a Wawanco's classic cumbia, that says -in addition to the decade in which the story occurs- that we are in some place of South America. The irrigation channel, with its floodgate next to the car, gives a more clear-cut location: a desert zone with irrigation. As people speak Spanish, it may be located either in Chile, either in the Cuyo region or in the Andean Northwest, both Argentina. But the speech is Argentine, so there no doubt, we are in Cuyo, either in Mendoza or San Juan Provinces: the region where were born and early raised Favio and its brother, the author of the tale on which the script of Aniceto is based. So, in five minutes, we know when and where the film story occurs. The film, technically speaking, is a filmed ballet, which scores are based to a great extent on Argentine popular music, mainly tango. So it is a filmic ballet, the sort that the Spanish director Carlos Saura, another great film-maker, cultivates very frequently. But Favio enlightens a new magic: his dance performers, besides to dancing outstandingly well some great choreographies, act like real professional actors. Hernán Piquín - the Aniceto-, Natalia Pelayo - immortalizing the Francisca- and Alejandra Baldoni - the Lucia- put in evidence the difference between the drama and the tragedy. Because in the real great cinema (like Bergman, Fellini, Pasolini, Welles, Kazan, Trier, Herzog, and so on), never there is drama, but there is tragedy, no doubt Aniceto is a great film. And as it must be in the tragedy, it is possible from the beginning to known in what historical and cultural territory passes its story, a story that is also a universal one.
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