In Buenos Aires, the twenty and something year old Jewish-Argentinean Ariel Makaroff has left the University of Architecture and spends his time wandering through the downtown gallery where...
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After years away, Ariel (Alan Sabbagh) returns to Buenos Aires seeking to reconnect with his father Usher, who founded a charity foundation in Once, the city's bustling Jewish district ... See full summary »
They are both alone. They need each other but, at the same time, they despise each other. Siblings Marcos and Susana are unable to heal the old wounds festering within them after the death ... See full summary »
In 1999, Argentina's peso craters. Ariel, a young man from Buenos Aires' Jewish community, deals with his mother's fatal illness, finds a job as a night shift surveillance camera monitor, ... See full summary »
Santiago and Eugenio are more than friends, they are life long business partners. They understand each other without words, they care for each other, they need each other. One day Eugenio ... 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 »
This is the story of Julián, an ophthalmologist who is upset due his wife recent death (a flight-attendant) and Teresa (an unhappy stewardess). Julián travels to Ushuaia, where he met his ... See full summary »
In Buenos Aires, the twenty and something year old Jewish-Argentinean Ariel Makaroff has left the University of Architecture and spends his time wandering through the downtown gallery where his mother has a lingerie shop and his brother runs an importation business, trying to get his Polish passport and move to Europe. Ariel has never understood why his father left him when he was a baby to fight in the Yom Kippur War in 1973. When his father returns to Buenos Aires, Ariel discovers the reason why his father left his family.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Official submission of Argentina for the 'Best Foreign Language Film' category of the 77th Academy Awards in 2005. See more »
There is no Lithuanian language in the film. The girl from Lithuania named Vilna (Lithuania's capital name is Vilnius) is speaking Russian, not Lithuanian. The words Vilna says when she first meets Ariel are "Tvoi drug Ariel. Chto s nim sluchilos?", what means "Your friend Ariel. What's wrong with him?" See more »
It seems the «Jewish experience» —that is, being of Jewish origins, and living "jewishly" according to this or that dogma— varies from country to country very much. I was born in a country (Panama) where almost all Jewish persons are economically powerful, do not mix with the average citizen, and live mostly for themselves behind tightly-closed walls. There are, of course, exceptions; but I had to travel abroad to have a different experience, even to have Jewish friends and lovers, and discover that not all are so closed to the humanity living close to them, as many that I have met in Panama. When I saw "El abrazo partido", one of the most endearing Latin American films that I had seen in years —besides another beautiful Argentine film called "El perro", announcing what was just about to come: a long list of new, remarkable filmmakers as Lucrecia Martel, Israel Adrián Caetano, Lisandro Alonso, and many others—, I was very well impressed and happy to see this different side of what it is to be a Jewish person in Latin America, because I could identify very much with them. Most of the times the cinematic Jewish experience comes from American filmmakers, and they keep on telling the same stories, or give them the same approach (exceptions admitted). For instance, with the weight world cinema has given to the Jewish drama during Second World War —and I am not by any means diminishing it—, I loved to see normal, beautiful people leading their everyday life in this motion picture, directed with both the brain and the heart, with top performances by Daniel Hendler, Adriana Aizemberg, Jorge D'Elía, and Rosita Londner as the grandmother, as well as all the supporting players. I can't explain how people can reduce the value of a motion picture, just because a few of the shots were not done with a tripod! Where have they been all these years? Camera movements were even very popular in the 70s. A movement done with the camera on the operator's shoulder, has a strong, different value to another one done with a steadicam! A very good movie, just as good as those I have enjoyed, done by sensible filmmakers from Israel that have shown me the best parts of their culture.
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