Not a documentary but an extremely biased and manipulative "collage" of the trial. So many things omitted on purpose, there are very few things out there as one sided as this one. Avoid this "documentary", go watch the trial, it's all there for everyone to see. And the funny part - even on second viewing of those trial excerpts, it's even more obvious why the verdict was what it was. Who was a bad actor and who was telling their painful truth (supported by evidence). I don't understand why this piece would be labeled a documentary, perhaps only formally because there no "sides" or no debate here. Not surprising these days, but nevertheless, disappointing.
Reviews
7 Reviews
Blondi
(2023)
...And then it breaks your heart
19 June 2023
This wonderfully intimate film is crafted in a way that tricks you into thinking that you've figured it out, only to disarm you and make you feel a blast of emotions as genuine as the characters and the story. And genuine they are. The movie is cleverly paced, the characters (2 generations of women, their infamous son in law and their children, most importantly Mirko) are living and breathing three dimensional human beings, every phrase believable and recognizable without being corny, and the emotional climax you're being driven towards is so organic that not a trace of manipulation is there. Dolores Fonzi does an excellent job as a director and writer, as she does as an actor (less of a surprise considering her career path so far), the storytelling is subtle and stylish, with a touch of humor and avoiding the clichés, navigating you through a piece that could be filled with them.
It's a slice of life story, a coming of age story, a mother-son story, a sister-sister story, and a few more - somewhat defying the conventions of those relationships on the way. I was ready to dislike the "hippie-ish" seemingly refusing to mature mother, and yet there was something beyond that surface that Ms. Fonzi was hinting at, not giving away, and somehow emanating - that kept me wondering. And just when I thought I'd figured it all out - she broke my heart in most satisfying climactic scenes and a life-affirming denouement and ending. Blondi was a picture that for me has turned out to be so much more than "another Argentinian dramedy". Great cast, really good story well told and food for thought. Recommended. I hope we'll see more from Dolores Fonzi the director in the years to come.
It's a slice of life story, a coming of age story, a mother-son story, a sister-sister story, and a few more - somewhat defying the conventions of those relationships on the way. I was ready to dislike the "hippie-ish" seemingly refusing to mature mother, and yet there was something beyond that surface that Ms. Fonzi was hinting at, not giving away, and somehow emanating - that kept me wondering. And just when I thought I'd figured it all out - she broke my heart in most satisfying climactic scenes and a life-affirming denouement and ending. Blondi was a picture that for me has turned out to be so much more than "another Argentinian dramedy". Great cast, really good story well told and food for thought. Recommended. I hope we'll see more from Dolores Fonzi the director in the years to come.
The Kingdom
(2021–2023)
A communist manifesto filmed with Netflix's dollars
31 March 2023
The title of my review sums it up. Cardboard characters (written as such) and a ridiculous plot. My 3 stars go to production value, the gorgeous landscapes of Argentinian North and one pity star to a stellar cast wasted. And oh the irony, to use the budget given by an American corporation to trash the US and sing the old Castrist-Chavez tune. The first season was somewhat watchable, the second is an ultra leftist campaign spot. There are better Netflix projects made in Argentina out there, stay away from this one. For the record: I'm a big supporter of Argentinian film and TV and it's the first negative review I've ever written on here. But I felt I had to.
Death is real, and love does exist but is no salvation
13 January 2020
Warning: Spoilers
In 2020 the struggle of getting the people into an actual movie theater to see something that many would dismissively call a "talking heads" movie - no CGI, no 3D, no chases and thrills, no galaxies far away and such - is more real than ever. So it is with films like this one by Fernando Salem that the beautifully human stories find a voice and an audience. Despite being tightly intimate and introspective, the film never loses its cinematic quality, being visually and sonically poetic through every scene, never intrusively so, never pretentiously so.
The acting is "invisible", its fluency, effortlessness, its raw yet perfectly measured quality (in the entire ensemble) never take away from the eerie vibe of the narrative, with only hints at flashbacks, the connections into the past that are strong as ever and those with the present that are fragile and often dysfunctional.
The snowy landscapes of Argentinean Patagonia add to the atmosphere, reflecting the inner struggles of the characters and being juxtaposed to them at the same time. The music finds its way into the picture in a most organic way, like another verse, or another rhyme in this poem of a film. The plot has been described in the synopsis section, and there is not much information about the actors on this page, so I am omitting the detailed analysis of both. I must, however, express my admiration to an amazing screen debut of Antonella Saldicco who enchants you with her charm and her truth from the first second you see her, as well as applaud the courage and heartbreak so gracefully expressed by Susana Pampin in the role of a mother who lost her daughter; Agustin Sullivan gives his character this quality of being so explicitly and disarmingly lost in life, this man-child with a child.
I absolutely recommend this film , one of the best to have come out of Argentina in the recent years - to the cinema lovers, to those who appreciate "cine arte" and festival style independent movies - this one will resonate with many on so many levels - we all have to deal with our losses, we all at times struggle through the life that we have and face our crises, and this delicately told story (an adaptation of the novel "Agosto" by Romina Paula) might give a necessary perspective of things. The film breathes and pulsates, its rhythm never allowing any scene or any moment to drag, always moving along, always engaging.
The acting is "invisible", its fluency, effortlessness, its raw yet perfectly measured quality (in the entire ensemble) never take away from the eerie vibe of the narrative, with only hints at flashbacks, the connections into the past that are strong as ever and those with the present that are fragile and often dysfunctional.
The snowy landscapes of Argentinean Patagonia add to the atmosphere, reflecting the inner struggles of the characters and being juxtaposed to them at the same time. The music finds its way into the picture in a most organic way, like another verse, or another rhyme in this poem of a film. The plot has been described in the synopsis section, and there is not much information about the actors on this page, so I am omitting the detailed analysis of both. I must, however, express my admiration to an amazing screen debut of Antonella Saldicco who enchants you with her charm and her truth from the first second you see her, as well as applaud the courage and heartbreak so gracefully expressed by Susana Pampin in the role of a mother who lost her daughter; Agustin Sullivan gives his character this quality of being so explicitly and disarmingly lost in life, this man-child with a child.
I absolutely recommend this film , one of the best to have come out of Argentina in the recent years - to the cinema lovers, to those who appreciate "cine arte" and festival style independent movies - this one will resonate with many on so many levels - we all have to deal with our losses, we all at times struggle through the life that we have and face our crises, and this delicately told story (an adaptation of the novel "Agosto" by Romina Paula) might give a necessary perspective of things. The film breathes and pulsates, its rhythm never allowing any scene or any moment to drag, always moving along, always engaging.
Blood Will Tell
(2019)
A brilliant fable-thriller from Argentina
21 March 2019
In my view, this is the best film to have come out of Argentina in the recent years, certainly, head and shoulders above the recent submissions to the Academy Awards from that country (none of those made it to the short list even, let alone the nominations - not since the witty and brilliant "Wild Tales" in 2014/2015), a story masterfully told. It is a concentration of elements that serve the story, not distract from it, the myriad of details and subtleties that may escape the attention of some viewers, but will nevertheless affect them. A film that allows the actors to create the tension and suspense brick by brick, weaving the delicate fabric of the complex narrative.
The plot (and the approach to it) can be found in the synopsis, so I am going to speak about the other elements that made the picture such a unique experience for me personally.
The script is one of the most intelligent, sophisticated and yet articulate ones that I have come across in the last few years, as far as Argentinean cinema goes. From the prologue, to the opening scenes and the whole first section of the movie we, the audience, are collecting the pieces of the puzzle, putting it together, then re-assembling the picture that seemed ready and "right" and putting together something entirely different. Was Adriana really killed? Was Elías the one who had something to do with it? Is Santiago, with whose eyes we first see the events of the night and who starts "looking into it", in danger? Will Carla, the daughter, dare suspect her father of such an atrocity? The accents shift, but the focus is always there, and so is the tension, mainly through the impeccable "less is more" acting of Diego Velasquez portraying Santiago (the son-in-law), the unsung hero of this acting ensemble. Local press praises (and rightly so) the tremendous tour-de-force acting of Oscar Martinez (Elías, the father) and the to-the-point energetic effort of Dolores Fonzi (Carla, the daughter) but somehow they totally overlook the real "duel" of the story and of the film - that of Santiago (Velasquez) and Elías (Martinez), who, interestingly, appeared opposite each other in the same "novela" of the "Wild Tales", 5 years ago. Velasquez's reactions, his subdued yet obvious anxiety and fear, the suspicion, the body language, his interaction with Dolores Fonzi's character - the "unsaid" things, the "unasked" questions - it is all there, burning a slow fire within this character. This is absolutely astounding in a least obvious way possible, and it is this tension that draws one into the story, and alongside the carefully created visual world (excellent art work and location choices!), atmospheric and non-intrusive original score (by Luca D'Alberto) and a perfectly paced camera work and editing, makes this film a fable as much as traditional thriller.
Directorial choices made by Miguel Cohan - throughout - are all at the service of the story (as, in my opinion, they should be) - one should pay attention to the way the "same" scene plays out when shown from two different points of view. The tempo changes, the acting changes - the pauses made by the actors are longer (or shorter), the emphases shift, the intentions and "underwater" motives now known become more or less explicit - look only at how the wonderfully cast Paulina García is asking Santiago (Velasquez) to take the food of the oven in the two versions shown in the film, this is so delicately done, so to the point, that acting filigree that is omnipresent in this picture, whether the characters speak or not.
The art department and the location scout did a fantastic job selecting the perfectly opposing home environments for the two households - that of Elías and Adriana and that of Carla and Santiago - the first - cold, geometrical, lifeless, the latter - warmer, with color accents (orange), much more organic and "lived in", mirroring the relationships between the family members. One can also see as, ghost-like, Elías' house as it used to be, sometimes manifests itself, or like Adriana's dream home with its stained glass, sunlight and colors reminds one of what it all used to be like decades ago.
As endless as this review is becoming, I cannot not mention the symbolism of the film and its elements that make it transcend a "cookie-cutter" psycho-thriller format. From the opening scene on, the biblical references (Cain-Abel, first and foremost) are everywhere. Even the name of the family farm "The Black Ram" with a characteristic animal logo speaks volumes, especially when it is reflected not only in the story of the protagonist, but also in his appearance. Through the meticulously set lighting to hair and make-up, Elías's resemblance of that animal is uncanny. The hair parted right in the middle, the accentuated cheekbones - at times it seems like Oscar Martinez is physically being transformed into that animal (note the dolly close-up in the bedroom right before Elías goes down into the kitchen on the night of the accident!). It is in a Dodge Ram that his creditor is pursuing him, almost hitting. And how perfectly timed is the scene at the train crossing, how ominous and yet non-manipulative all of these (and a million more) details are. The creepiness of Jonas, Santiago and Carla's son, his already perverse aversion to lies and darkness, that pattern "inherited" from his grandfather, his resemblance to his blood relatives on the mother's side is just another piece in the puzzle of a bigger picture, the one that gave title to the film.
Oscar Martinez delivered one of the best (if not THE best) and most cumulative performances of his illustrious career, every breath, every look, every pause, every choice made is calculated to perfection without ever seeming so, his acting is both immensely powerful and incredibly effortless, whether he is contemplating something in silence or venting out at the bureaucrats. The same effortlessness characterizes Dolores Fonzi's work - there are no special revelations there, probably, until the concluding scene with her father (Martinez) where she pulls out all the stops and goes beyond what one expects from both the character and the actress.
I salute Miguel Cohan for his intelligence, sensibility, bravery and good taste. I totally recommend this film to anyone who loves independent films, who can enjoy great acting, who can allow oneself time and even some effort to look at human nature and let the story unravel at its own pace. Go see it! 9*.
The plot (and the approach to it) can be found in the synopsis, so I am going to speak about the other elements that made the picture such a unique experience for me personally.
The script is one of the most intelligent, sophisticated and yet articulate ones that I have come across in the last few years, as far as Argentinean cinema goes. From the prologue, to the opening scenes and the whole first section of the movie we, the audience, are collecting the pieces of the puzzle, putting it together, then re-assembling the picture that seemed ready and "right" and putting together something entirely different. Was Adriana really killed? Was Elías the one who had something to do with it? Is Santiago, with whose eyes we first see the events of the night and who starts "looking into it", in danger? Will Carla, the daughter, dare suspect her father of such an atrocity? The accents shift, but the focus is always there, and so is the tension, mainly through the impeccable "less is more" acting of Diego Velasquez portraying Santiago (the son-in-law), the unsung hero of this acting ensemble. Local press praises (and rightly so) the tremendous tour-de-force acting of Oscar Martinez (Elías, the father) and the to-the-point energetic effort of Dolores Fonzi (Carla, the daughter) but somehow they totally overlook the real "duel" of the story and of the film - that of Santiago (Velasquez) and Elías (Martinez), who, interestingly, appeared opposite each other in the same "novela" of the "Wild Tales", 5 years ago. Velasquez's reactions, his subdued yet obvious anxiety and fear, the suspicion, the body language, his interaction with Dolores Fonzi's character - the "unsaid" things, the "unasked" questions - it is all there, burning a slow fire within this character. This is absolutely astounding in a least obvious way possible, and it is this tension that draws one into the story, and alongside the carefully created visual world (excellent art work and location choices!), atmospheric and non-intrusive original score (by Luca D'Alberto) and a perfectly paced camera work and editing, makes this film a fable as much as traditional thriller.
Directorial choices made by Miguel Cohan - throughout - are all at the service of the story (as, in my opinion, they should be) - one should pay attention to the way the "same" scene plays out when shown from two different points of view. The tempo changes, the acting changes - the pauses made by the actors are longer (or shorter), the emphases shift, the intentions and "underwater" motives now known become more or less explicit - look only at how the wonderfully cast Paulina García is asking Santiago (Velasquez) to take the food of the oven in the two versions shown in the film, this is so delicately done, so to the point, that acting filigree that is omnipresent in this picture, whether the characters speak or not.
The art department and the location scout did a fantastic job selecting the perfectly opposing home environments for the two households - that of Elías and Adriana and that of Carla and Santiago - the first - cold, geometrical, lifeless, the latter - warmer, with color accents (orange), much more organic and "lived in", mirroring the relationships between the family members. One can also see as, ghost-like, Elías' house as it used to be, sometimes manifests itself, or like Adriana's dream home with its stained glass, sunlight and colors reminds one of what it all used to be like decades ago.
As endless as this review is becoming, I cannot not mention the symbolism of the film and its elements that make it transcend a "cookie-cutter" psycho-thriller format. From the opening scene on, the biblical references (Cain-Abel, first and foremost) are everywhere. Even the name of the family farm "The Black Ram" with a characteristic animal logo speaks volumes, especially when it is reflected not only in the story of the protagonist, but also in his appearance. Through the meticulously set lighting to hair and make-up, Elías's resemblance of that animal is uncanny. The hair parted right in the middle, the accentuated cheekbones - at times it seems like Oscar Martinez is physically being transformed into that animal (note the dolly close-up in the bedroom right before Elías goes down into the kitchen on the night of the accident!). It is in a Dodge Ram that his creditor is pursuing him, almost hitting. And how perfectly timed is the scene at the train crossing, how ominous and yet non-manipulative all of these (and a million more) details are. The creepiness of Jonas, Santiago and Carla's son, his already perverse aversion to lies and darkness, that pattern "inherited" from his grandfather, his resemblance to his blood relatives on the mother's side is just another piece in the puzzle of a bigger picture, the one that gave title to the film.
Oscar Martinez delivered one of the best (if not THE best) and most cumulative performances of his illustrious career, every breath, every look, every pause, every choice made is calculated to perfection without ever seeming so, his acting is both immensely powerful and incredibly effortless, whether he is contemplating something in silence or venting out at the bureaucrats. The same effortlessness characterizes Dolores Fonzi's work - there are no special revelations there, probably, until the concluding scene with her father (Martinez) where she pulls out all the stops and goes beyond what one expects from both the character and the actress.
I salute Miguel Cohan for his intelligence, sensibility, bravery and good taste. I totally recommend this film to anyone who loves independent films, who can enjoy great acting, who can allow oneself time and even some effort to look at human nature and let the story unravel at its own pace. Go see it! 9*.
Cama adentro
(2004)
Subtle, entertaining, heartbreaking, deep, sophisticated - Argentinean
19 August 2014
This film to me is undoubtedly one of the rare and stupendous examples of what they call (in the best sense possible) - an "actors' director", or in this case, rather - an actresses' one. I shall not bore you with the plot, it is all in the respective IMDb section, instead I will tell why I consider this a must-see for anyone who appreciates stories about relationships, who enjoys and values the intricacies of a female character (in this case - two rather opposite ones) beautifully unfolded. The love-and-hate relationship between the lady of the house (a bit delusional, totally broke and trying desperately to save her face) and her mucama, played to perfection by the grand Norma Aleandro and the fantastic discovery of Jorge Gaggero - Norma Argentina. What amazes me is how incredibly sensitive the director is to the enormous difference in characters of the actresses and their approaches, how seamlessly he makes that gap serve the purpose of his brilliantly written story. Every scene is a master class in subtlety, wit and purposefulness. In my view, many new directors will benefit enormously if they watch the film with an open mind. I was astonished by the fact that Ms. Argentina had never appeared on screen or stage before, she is breathtakingly effective in every shot, and the honest simplicity she contrasts to Aleandro's sophistication is a delight to observe. Absolutely recommended - the film is made with very apparent love for the woman, for Argentina and exquisite artistic taste and mastery. 10/10 from me.
Won't Back Down
(2012)
Film with a heart made for those who have one
7 October 2012
Reading some of the reviews here and elsewhere I was getting a feeling some people simply saw another film under the same title for I don't have another plausible explanation for the shortsightedness and narrow-mindedness of some.
The film is stunning in its emotional impact, immaculately written and stupendously directed, with incredible one-shots, meticulously motivated hand-helds, color nuances (overlooked by many) and above all breathtakingly thorough and subtle work with the cast. In the world of "block-and-shoots" and gimmicky self-indulgent "me-me-me's" this rare old school picture stands out and certainly makes many uncomfortable for it appeals to something buried under layers of tweets, pretense, status, rat races and such - the human heart. Human connection. This is the most life-affirming American film I have seen in over a decade without it getting too preachy, cheesy or boring. No chemistry between Maggie and Viola? That comment is beyond me. They are so different, they are so raw and painfully believable on their own, that their union gains power via this deliberate diversity of their characters. There is not a single face in a single frame that is not totally "there", the committed "non-background" nature of supporting cast and extras makes an incredibly detailed background, full of nuance, ever breathing and alive. As is every shot of the film.
The last comment I will afford regards the union matter. First if all - if someone really believes this movie is about unions (or against them) - I have nothing to tell them. They will be as deaf to my voice as they are to the writers'/director's which tells a story of mother's love, standing up for your rights, having hope and faith and moving mountains if necessary - if the loved one needs that. The school is just a background for all that to unfold, a setting, a subplot to me. Performances are Oscar-worthy, I could go on for pages and scene by scene describe the beauty and power of them (alas, only 1000 characters here). And one more word on the union issue - what makes this film so impactive and real is how valid both points are and how the film's creators made sure that nothing about that is black and white and took time to support and justify both.
So, if you are not ashamed to cry in a theater, if you are ready to embark on an emotional journey, if you are not afraid to think and doubt - go see this brilliant work of art.
The film is stunning in its emotional impact, immaculately written and stupendously directed, with incredible one-shots, meticulously motivated hand-helds, color nuances (overlooked by many) and above all breathtakingly thorough and subtle work with the cast. In the world of "block-and-shoots" and gimmicky self-indulgent "me-me-me's" this rare old school picture stands out and certainly makes many uncomfortable for it appeals to something buried under layers of tweets, pretense, status, rat races and such - the human heart. Human connection. This is the most life-affirming American film I have seen in over a decade without it getting too preachy, cheesy or boring. No chemistry between Maggie and Viola? That comment is beyond me. They are so different, they are so raw and painfully believable on their own, that their union gains power via this deliberate diversity of their characters. There is not a single face in a single frame that is not totally "there", the committed "non-background" nature of supporting cast and extras makes an incredibly detailed background, full of nuance, ever breathing and alive. As is every shot of the film.
The last comment I will afford regards the union matter. First if all - if someone really believes this movie is about unions (or against them) - I have nothing to tell them. They will be as deaf to my voice as they are to the writers'/director's which tells a story of mother's love, standing up for your rights, having hope and faith and moving mountains if necessary - if the loved one needs that. The school is just a background for all that to unfold, a setting, a subplot to me. Performances are Oscar-worthy, I could go on for pages and scene by scene describe the beauty and power of them (alas, only 1000 characters here). And one more word on the union issue - what makes this film so impactive and real is how valid both points are and how the film's creators made sure that nothing about that is black and white and took time to support and justify both.
So, if you are not ashamed to cry in a theater, if you are ready to embark on an emotional journey, if you are not afraid to think and doubt - go see this brilliant work of art.
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