CHRONICLE OF A BOY ALONE, is an indictment of a fascist regime running roughshod over its most vulnerable citizens, its children. Focusing on the bleak life of eleven-year-old bad boy Polin... See full summary »
Nazareno Cruz is the seventh son of a couple living in a high mountain village. According to a myth, a seventh son will become a wolf on nights of the full moon. Everyone in the village is ... See full summary »
Juan José Camero,
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,
Aniceto is a lonely man who lives with his rooster in a little town in Mendoza. He falls in love with the sweet Francisca, but things will get tense when he also begins a relationship with the enigmatic and irresistible Lucia.
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 »
Bear has never gotten over the separation from his wife and daughter after having been convicted for armed robbery and homicide and sent to prison. Now he is out, to finally get his cut of ... See full summary »
Israel Adrián Caetano
In 1920, some workers of Patagonia, grouped in anarchist and socialist societies, decide to make a strike demanding better working conditions. The situation becomes unsustainable and the government sends the order is restored.
Out of the blue, a meek, old painter begins receiving love letters from Rosaura. This intrigues his fellow boarding house tenants, so they involve themselves into his relationship until one day the mysterious Rosaura appears.
María Luisa Robledo
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 »
During his 42-year career as a director, Leonardo Favio made eight feature films, and virtually all of them deserve to be regarded as masterpieces of cinema. The discerning viewer will need to watch only a few minutes of a Favio film to realize that he or she is experiencing a unique way of viewing the world, and this is the mark of a true filmmaker.
The argument of _El romance del Aniceto y la Francisca_ is minimal; as a matter of fact, the full title of the film, _Este es el romance del Aniceto y la Francisca, de cómo quedó trunco, comenzó la tristeza, y unas pocas cosas más..._, almost tells you the whole story. Favio's narrative economy here is truly staggering. Within the first five minutes of the film, Aniceto (Federico Luppi) and Francisca (Elsa Daniel, of _La casa del ángel_ and _La mano en la trampa_ fame) have seen each other for the first time and slept together. No sooner has Aniceto won her affection than he begins to take Francisca for granted, especially when he sees Lucía (María Vaner), who is the antithesis of the innocent-looking Francisca. In a short time, Lucía replaces cockfighting as Aniceto's passion in life.
The three iconic actors are at their best in this excellent depiction of rural Argentina. Together they take part in a fateful dance, to the music of Vivaldi and Los Wawancó. It's amazing how Favio could make so much of such a "quiet" story. _El romance del Aniceto y la Francisca_ is the visual equivalent of a literary novella, which, unlike the novel, focuses on suggestion rather than on development. Favio gives the viewer the essentials, and the viewer puts the story together with these elements.
Some viewers may dismiss the film as a cautionary tale about the evils of machismo, but _El romance del Aniceto y la Francisca_ is much more than that. Like the haunting _Nazareno Cruz y el lobo_ (1975), this film bears the mark of a myth. Favio would remake the film in 2008, this time as a ballet bearing the title _Aniceto_. Deciding which of the two versions is "better," whatever that means, is like trying to answer the Beatles vs. Rolling Stones question: you may give an answer, but no matter what your choice is, deep inside you feel you're doing someone an injustice.
Like all of Favio's works, _El romance del Aniceto y la Francisca_ is a film to be seen and to be felt. I kept thinking of Tarkovsky as I watched it; not because of the content, not even because of the technique, but because of the power at work behind the camera: an overwhelming and ultimately unexplainable force.
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