Many ‘subversives’ disappeared during the fascist dictatorship in Argentina in the late 1970s/early 1980s. From 1977 The Mothers of Plaza de Mayo ensured the missing were not forgotten and I was surprised to learn they are (at least two years ago) still having to protest. The Official Story, apparently based on a true story, is a gripping political melodrama focusing on bourgeoise wife, Alicia (a Cannes winning performance by Norma Aleandro), who suspects that her adopted five-year old daughter may have been taken from one of the ‘disappeared’.
Aida Bortnik’s and director Luis Puenzo’s script brilliantly draws together numerous strands: Alicia is a history teacher whose class is far more clued up to the way ‘assassins’ are the ones who write history; her husband, Roberto (Héctor Alterio), has close ties to the military but whose brother and dad all but disown him as he berates them as ‘losers’. Central is the relationship between Alicia and her daughter which is suddenly thrown into doubt when an old friend, Ana, returns from exile. The scene when the friends are drunkenly reminiscing and Ana tells Alicia the truth about why she went away without saying anything is extraordinary. At first Alicia is chuckling along but the significance of what Ana is saying clearly doesn’t immediately sink in but then she realises Ana is describing how she was tortured; Aleandro’s performance in this scene is enough to justify watching the film.
Alicia’s cosy, bourgeois is punctured and she then seeks the truth in the face of her husband’s cynicism and worse. In such a male dominated society as Argentina was at the time, it’s not surprising that it required women to join together to seek justice and how brave they were (and are) to do so in the face of male oppression.
In the UK we keep hearing from politicians that we shouldn’t upset the extreme right-wing or their violence will get worse. While this may be simple (in more ways than one) politicking because they want PM’s May’s mess of a deal to leave the EU to be voted through today, such appeasement is obviously dangerous. With the new president of Brazil threatening a return to the bad old days of fascist governments in Latin America (usually propped up by America), The Official Story is important in reminding us of the evil perpetrated against ‘the people’ in the region. The film won best foreign film Oscar and whilst those awards are often poor arbiters of taste I suspect they got it right in 1985, only two years after the dictatorship had fallen.