In "My First Wedding" ("Mi primera boda"), Jewish-born Adrián and Catholic-born Leonora have finally reached their wedding day. Instead of gracefully embracing matrimony, Adrián spends the ... See full summary »
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
Young Jorgelina feels estranged from her boy-crazy older sister, who has entered adolescence and doesn't want to hang around with little kids anymore. Finding refuge in their Boyita ... 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 "el Rulo" ("Curly", Gianfranco Pagliaro) is a globetrotter, who travels the inner country, offering artistic performances. One day, he happens to pass by Carlos' (Carlos Monzon) - a ... See full summary »
Gian Franco Pagliaro,
In this adventurous experiment in storytelling, secret identities, missing persons, lost treasures, exotic beasts and desperate criminals are only a few of the elements woven into a grand tapestry of mysteries.
A small incident over two neighbors common wall sparks a conflict which affects the intimacy of the view over the chimney; the protagonist sparks a conflict and with paranoiac obsession destroys everyday life.
Damián, Marcelo, Luciano and Facundo are four friends, all in their thirties. They all share the following interests: music, friendship and women. All four of them fall in and out of love, ... 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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