DivX Clásico

Fernando E. Solanas directed this Argentine-French-Italian-German drama with allegorical reflections of Argentina's past history. The film is divided into four chapters ("The Mirror," "The Waiting Men," "Oblivion," "Howls") with subchapters ("Punishments," "Rewards," "Obstinacy"). A black cloud brings 1600 days of rain to Buenos Aires, while traffic and pedestrians move backwards. Aging actor Max (Eduardo Pavlovsky) runs the Mirror Theater in a former fish market, but lack of funding means a possible demolition. Max is attracted to Brazilian dancer Fulo (Angela Correa), who worries about her daughter back home. Amid political corruption and police brutality, Max's elderly colleague Enrique leads a protest for unpaid old-age pensions. The pensioners succeed in their demands, only to learn from a government official that no money is available to pay them. Shown in competition at the 1998 Venice Film Festival. — Bhob Stewart

This 1998 film is (or not) an allegory of the failure of the Argentinian nation, as told by the demise, and struggle to survive by a theater company. What makes the film a chilling prophecy of what was really in store for Argentina is its timing.

Released in 1998, when the country was still then the world darling and shining "successful" example of successful neo-liberalist economy policy (??!!), Argentina was entering recession. But it was NOWHERE close to the total debacle of January 2002, its effects still being felt in a country transformed by forever broken dreams, failure, and total bankruptcy. So, when filmed and released, whether this film's plot was or not a real allegory of the country's fate, was in the air. As it turned out, the messages in the film are almost 100% correct.

So the film today is actually more relevant than ever, and faithful to the real stories of those who lost everything, particularly the senior citizens. It's almost unbelievable how this film predicted, like a crystal ball, the events, the trials and tribulations of pensioners (retirees) since 2001 (still mostly unpaid or underpaid - as of June 2004. The dialogues of this film's characters of how they lose everything, or almost everything (clinging to one thing at least - in this film's case - a theater, and a 25 year old theater group), are almost verbatim quotes of Argentinians complaints right now, in the present time. You'll often hear them in the current President's speeches as he insists that his country, "raped by foreign investors," will at most pay a mere 25% of the country's debt to foreign debtors.

Yes, Argentinians have always been a melancholic, depressive, negative lot; singing the sad lyrics of the tango over loss of love, their European homelands, treason, treachery, the general rotten nature of the human race, suicide, and so on. This melancholic art form actually peaked during times when Argentina was one of the world's most developed, richest countries - the world's No. 2 for many years in several periods in the late 19th and early to mid 20th centuries.

It was (is) the only ethnically European country, and the only one with a middle class in the Americas, besides the US and Canada, but more ethnically homogeneous than either the US or Canada. Maybe even with better income distribution, as there was never a slave past (with Africans or Asians in any case) to speak of in Argentina, and most people are of pure European heritage. An African (black) person, or an Oriental is still a rarity in the country, a factor which aided in uniting the country for many years.

Remember the expression "as rich as an Argentine?" But they still whined when they were on top of the world; even after winning two World Cups, producing Nobel Prize Winners, and sport champions from tennis to car racing to rugby and cricket.

I think the reason this movie has a low rating is that at the time it was released, viewers thought it was one more "artsy" negative manifestation of the eternally "whiny" Argentines. How could something so gloomy and defeatist come out of a country which was still living a boom in the mid 90s? That's what I believe the earlier (and vast majority of) voters thought, when they evaluated this movie.

But see it now, and WITNESS just how true everything in the film turned out to be. It is really prophetic. And the movie itself, though too long, too "artsy" and pretentious (other attributes generally attributed to Argentinians), it is STILL worth seeing. Especially now, as one hears Argentinians legitimate complains since 2002 a full four years earlier, in 1998. The film presents an uncanny prophecy, and a great allegory of a country's decline and eventual nearly total economic and moral bankruptcy.

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Tragamuvis escribió:Por favor, no dejen de bajarla, es una película preciosa, amarga como la realidad desde la que emerge y la motiva, obstinada como algunos pocos, como el propio Pino, cargada de poesía.

Tragamuvis escribió:Lo mismo hice con El chacal de Nahuel Toro (6GB distribuídos) y con 25Watts (12GB distribuidos) porque considero que hay que darle un empujoncito a la difusión del buen cine latinoamericano.