Category: Argentinian Cinema

New posts on Global Film

Just a reminder for subscribers. Reviews of interesting films, mainly from outside the US/UK and Western Europe, are also to be found on our sister site at globalfilmstudies.com

Recent posts include:

Jauja (Argentina-Denmark 2014)

Stones for the Rampart (Poland 2014)

The Salvation (Denmark/UK/South Africa 2014)

OK Kanmani (India 2015, Tamil)

Wild Tales (Relatos salvajes, Argentina/Spain 2014)

The cook and the waitress in a small café are aware that their sole customer is a powerful man they despise . . .

The cook and the waitress in a small café are aware that their sole customer is a powerful man they despise . . .

Nominated for the Palme d’or and Argentina’s Oscar entry as well as receiving many other nominations and awards globally, Wild Tales has had an extensive release in the UK. Does it live up to this star billing? Did I laugh? Does the film have anything to say? Well, ‘perhaps’, ‘yes’ and yes, but . . . This is what is sometimes described as an ‘anthology’ or ‘portmanteau’ film. There are several different variations of this form. In this case there are six tales by the same director. I’m not sure that they are all ‘wild’. They do all involve forms of violence, some much bloodier than others. There is also a loose theme of ‘getting even’. It’s inevitable that with six films some will work better than others. I think I’d score this as 4 out of 6 with the first two the weakest.

In some of the stories the ‘getting even’ is directly related to social class distinctions and it’s always good to see the ‘little person’ get one over the bourgeoisie. But here that doesn’t always happen and a couple of the stories are driven by a relentless logic in which individuals are gradually worn down. In the end, the only thing that links all of the films is the sense of Argentinian society as being riven by all kinds of anti-social behaviour or clear injustices. I suspect that there were some nuances I didn’t get and that for Argentinian audiences the tales are more clearly linked together than I realised.

Some of the events depicted have a delicious black humour, others are more tragic. The film does, I think, invite audiences to indulge in assumptions about national characteristics. Male characters are arrogant and macho, some women are beautiful and haughty. And their opposites seem to be there to create the conflict – so the unattractive woman defeats the powerful man etc. The one star I recognised was the almost ubiquitous Ricardo Darin who appears as the ‘little man’ brought low by bureaucracy. But he’s an explosive expert . . . The tale that worked the best for me concerned a hit and run driver. This is in some ways a universal tale of wealth and corruption with a shock ending. I won’t spoil the enjoyment of any of the other tales but the film has been lucky/unlucky that the first tale relates directly to a recent news story and some cinemas have warned customers who might have found the link distasteful.

I think that my reluctance to embrace the film as completely as others have done is down to my general lack of interest in short narratives over longer ones. There are several other portmanteau films discussed on this blog. 7 Days in Havana is a less consistent film than Wild Tales but it does offer short films in different styles by different directors and in the end I personally found that more interesting. On the other hand, Yesterday, Today and Tomorrow offers three different stories by the same director which together say something about a particular society. The writer-director of Wild TalesDamián Szifrón, does a good job in presenting the narratives but I didn’t notice anything particularly different in terms of style between the six separate stories (other than their generic roots). In some ways his film appears more like Hollywood anthology films than the European tradition of portmanteau films. 

I did enjoy Wild Tales and I would recommend it as a film from one of the most vibrant film industries. My main concern is why it was so highly promoted where other foreign language films of similar quality are often restricted to a limited distribution. Violence and comedy are deemed to be saleable as a combination I guess – and the film is co-produced by the Almodóvars, Augustín and Pedro. Almodóvar is still a name that means something to UK audiences.

¡Viva! 21 #3: María y el Araña (Argentina/France/Ecuador 2013)

A still from the shoot of Maria y el Arana with director Maria Victoria Menis (right), Diego and Florencia

A still from the shoot of María y el Araña with director María Victoria Menis (right), Diego Vejezzi and Florencia Salas

I couldn’t find any festival coverage of this film (which was screened at several important festivals) – which surprised me as this was perhaps the most affecting of the films over the ¡Viva! weekend. It’s a youth picture and coming of age story crossed with a family melodrama and presented almost as social realism but with fabulous music and an element of ‘performance’ built into the narrative.

The second screening of the film was preceded by a very useful presentation on ‘The Latin American City in Cinema’ by James Scorer of Manchester University. He explained that the barrio (shanty town) where the central character lives is close to Puerto Madero, one of the newly renovated and now upmarket districts of Buenos Aires. An intelligent young woman, María is soon to finish elementary school and will be offered a scholarship to a high school – a potential way out of the barrio. She lives with her grandmother in a small shack which is shared with Garrido, the grandmother’s younger ‘companion’. María gives out junk mail on the subway system, often meeting an older friend who sells biscuits. One day she meets ‘Araña’, an older teenage boy who wears a Spider-Man hoodie and performs juggling and other tricks on the subway trains.

Maria2

María is played by a non-professional, Florencia Salas, who has a smile to break hearts. Araña (Diego Vejezzi) is a similarly attractive and engaging young character. All seems set for a sweet teen romance, but as the Buenos Aires Herald puts it: ” . . .  as the film unfolds, another story comes to the foreground, a story of subjugation and hidden pain”. The narrative develops in ways that are perhaps predictable but the presentation of the story is successful in representing a range of emotions – including a surprising and in some ways quite optimistic ending which is nevertheless underpinned by the knowledge that the lives of the young people in the barrio are still constrained by the failures of adults, both in the barrios and in the wider civil society of the city, to protect and nurture young people.

I was impressed by the subtle ways in which some aspects of the narrative are developed. Maria’s teacher knows something is wrong and expresses it with the slightest of looks askance. There are also some very strong visuals as befits a melodrama. The skill is in bringing these different elements together smoothly. I enjoyed the music in the film very much. It is mostly diegetic performed by bands in the shanty town and buskers on the subway. The music and the cinematography heighten the emotional pull of the film by contrasting the vibrancy of the performances with the restrictions of life in the barrio.

Director María Victoria Menis has made other films that have got some recognition outside Argentina, mainly in France (this is a French co-production) and I think that María y el Araña deserves to be seen more widely as well. The long trailer here which includes some extended scenes gives a good idea of how the film works. Most of what I discovered about the film came from the film’s Facebook page and the Argentinian production company’s ‘official website’.

Long trailer (minimal dialogue, no subtitles):

Betibú (Argentina-Spain 2014)

Mercedes Moran as 'Betibu', the crime novelist turned investigator.

Mercedes Morán as ‘Betibú’, the crime novelist turned investigator.

bfi-london-film-festival-2014-title-block-750x680This was perhaps the most enjoyable film to watch in my festival selection. It’s a solid mainstream investigative thriller with some interesting characters and a twisty plot. It’s the kind of film that would work well in BBC4’s Saturday night European crime fiction slot.

The title refers to the Spanish name for the cartoon character ‘Betty Boop’ and it was affectionately given as a nickname by Jaime Brena (Daniel Fanego), a crime reporter for a Buenos Aires newspaper, to a leading crime novelist Nurit Iscar (Mercedes Morán) some years ago. Brena is now being pushed out of his job and Iscar is reduced to more mundane writing after her last novel failed to please the critics. But when a wealthy man is found with his throat cut in a gated country club community, Brena and Iscar become involved in investigating the murder. Brena’s boss discovers that the newly-appointed young graduate crime desk chief needs guidance and lacks useful contacts and Brena is back on the job. Iscar is hired to write a ‘colour piece’ on the crime scene – but this is also a ruse by which the editor can attempt to rekindle a relationship with her. The subsequent investigation unearths a story which can be traced back to events many years ago involving wealthy families in Buenos Aires and the narrative has a darker ending than might be expected from some of the earlier exchanges.

The Argentinian production company behind the film (the wonderfully-named ‘Haddock Films’) is best known internationally for The Secret in Their Eyes (2009). That was a much more adventurous film and more clearly concerned with the dark political history of Argentina. Betibú suggests that the dark past can be kept dark by ‘The Organisation’, but there are certainly similarities with The Secret in Their Eyes in some of the settings. The film’s director is Miguel Cohan whose first film was the well-received No Return (Argentina 2010). Betibú is an adaptation of a novel by Claudia Piñeiro.

Daniel Fanego and Mercedes Morán are excellent and I could have taken much more of them. Fanego underplays to great effect and Morán is convincing as a writer-investigator (and quite different to the well-known Angela Lansbury character Jessica Fletcher in Murder, She Wrote. but I would have to agree with The Hollywood Reporter review which suggests that the two roles taken by Spanish actors, the editor and the young crime desk chief, are both underwritten and not up to the level of the two central characters. This raises the question of co-productions and the extent to which Spain and Argentina/Mexico/Columbia etc. need each other to be involved in a production. Betibú looks great and it looks like a certain level of production funding was required. It may also be that ‘pan-Hispanic’ distribution is helped by co-production. However, many of the other co-productions I’ve seen make much better use of Spanish actors.

Warner Bros. distributed the film in Argentina but I haven’t seen any indications of European or North American distribution as yet. Overall I’ve been impressed with the quality of Argentinian productions in the last few years and I hope this does get a wide distribution. It’s probably for older audiences who, I think, will enjoy it.