Mar del Plata's harbour during the Malvinas (Falklands) war. A love story that never was. A fisherman gets lost in the outer seas... See full synopsis »





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Cast overview:
Jorge Nolasco ...
Rocío Pavón ...
María Fernanda Callejón ...
La Tana
Carlos Kaspar ...
Juan Diego West ...
Mónica Ayos ...
Laura adulta
Julián Howard ...
El Gringo
Alfredo Allende ...
Gabriel Conlazo ...
El Zurdo
Mariel Natalia Gómez ...
Marcelo Serre ...
Nacho Vavassori ...
El Moncho
Norberto García ...
El Capitán
Pablo Flores ...
Lucho adulto


Mar del Plata's harbour during the Malvinas (Falklands) war. A love story that never was. A fisherman gets lost in the outer seas... See full synopsis »

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Release Date:

15 December 2011 (Argentina)  »

Also Known As:

The Bell  »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
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User Reviews

A tale of the sea and human resistance

Fredy Torres finally realized his dream and made his first feature, a tale of the sea that took him eight years to bring to the screen. There are no ghost ships or sirens in love here, but an ambitious work that mixes fantasy and realism, somehow more related in spirit to a few Irish folk tales of seals, beautiful women and the seamen they haunt. Son of a merchant seaman who took him for long trips during his childhood, Torres is passionate about his complex story, in which he narrates the introduction of a young woman to mature love, against a background of social and political oppression during the military regime that raged Argentina in the 20th century, including the conflict of the Malvinas Islands (known to English-speaking persons as Falkland Islands); and elements of fantasy, based on a legend he heard from seamen when he was a child. According to those men (voiced in the film by Américo, a character who plays chess in the local bar, played by Lito Cruz), there was a zone called "The Bell", where time passed more slowly than in the present. The beautiful sea shots are the visual leit motif of the film: they have an ominous charge that suggests that something bad is going to happen. And it does, asserting the fantasy elements. My only complaint is that these are so subtle before the magic (and tragedy) starts, that somehow when fantasy takes over the story it becomes a bit too difficult to believe. Perhaps --and this is just my opinion-- it would have helped to stress fantasy a bit during the first part that comprises most of the film. There is a secondary tale in the film about a man who has disappeared, but as he has no dialogue, we never know what happened to him. The theme of the "desaparecidos" (missing persons) --frequent in the cinema of Argentina-- is dealt with as a metaphor, so the viewer has the possibility of making different interpretations. This approach changes when the film follows the fantasy way (interestingly, through a realistic medium: the use of speeches of different presidents of Argentina, up to the present, as heard through a radio). In all, "La campana" is a beautiful film, a pleasure to watch, and a plausible first work, that I recommend.

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