In a time of crisis, a young boy tries to make sense of the fine line between fantasy and reality in this drama from Spain. Nicolas (Ricardo Darin) is a toy designer who has married Ingrid ... See full summary »
With the advent of democracy in Chile, a general amnesty for prisoners of non violent crime is enacted. Angel Santiago, a young man determined to avenge the abuse he suffered in prison, ... See full summary »
Alex is a young guy from Spain, who lives in Santa Monica, California. One day, he falls in love with a girl in an old Polaroid and decides to look for her, even if he doesn't have a clue ... See full summary »
At school everyone thinks that Melién is a weird girl. Instead of having fun with games and toys as the other kids, she prefers watching horror movies, reading Edgar Allan Poe tales, and ... See full summary »
Juan Manuel Da Quintas,
In the summer of 1928, several inmates from the National Penitentiary in Buenos Aires managed to escape. The film narrates the fate of each of these runaways in search of their destiny - ... See full summary »
Miguel Ángel Solá,
A refreshing twist on the old "dumped character rises above depression and starts learning valuable life lessons, then finally finds love again, only this time real and mature" tale. This small gem of a movie starts in that direction, then gradually starts steering away from cliché.
The movie's biggest accomplishment is the title character's depiction: like in real life, neurosis and melancholy are seldom neat or cute, and watching Soledad's evolution has the strange allure of a train wreck in slo-mo, with the added bonus of hilarity and eerieness at regular intervals.
Inés Efron doesn't stray from her (self-imposed?) typecast persona, yet delivers a powerful performance. Fabián Vena is comfortable in his shoes and brings soul and spark to his Nico. The magnificent Ricardo Darín dazzles with his simplicity and depth.
In short, another example of why Argentine cinema is alive and kicking, and that there is a happy medium between the revolting crass commercialism of Francella or Dibu and the tedious condescending pretentiousness of Lucrecia Martel or Adolfo Aristarain.
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