The Contra Costa Democrat

An electronic publication of the Democratic clubs and organizations of the Mount Diablo region. [Mount_Diablo]

This contains cultural, historical, educational, recreational, and Democratic political information for Central and Eastern Contra Costa County and is brought to you by your fellow citizen members of the region's Democratic clubs.


#TopTen: The essential films of democracy

Argentine film growth was strongest since 1995, with the Film Development Act.

Keys. "Aura" was the great role of Ricardo Darin and a remarkable fantasy about desire and violence.

Keys. “Aura” was the great role of Ricardo Darin and a remarkable fantasy about desire and violence.

In any list of “top ten” always miss something. In the case of Argentine cinema, most of those “best films” came after 1995, when the Film Development Act and the system of subsidies and loans are sanctioned allowed to grow the industry. A fact that was combined with the move to the action of the first graduates of film schools. When choosing, I appealed to three criteria: the individual taste; the weight of film inside and outside the film; and the search for the universal from the local. It is not seeking to avoid the discussion but, on the contrary, open. You can easily find these films on Movie25

1. The paths of Saturn, Hugo Santiago (1985).

It had been over 20 years since the extraordinary invasion, Santiago lived (lives) and filmed in Paris and wheel this story referred to the Argentina dictatorship, but it will in other ways: the adventure, the fantastic, that of the aesthetic reflection. Rodolfo Mederos plays a musician who returns to Aquileia expired from his European exile. Santiago told the Argentina of then with the right distance, in search of human and universal sense of tragedy, with the precise scalpel fiction.

2. Exile of Gardel, Fernando Solanas (1985).

The other side of the same coin: Solanas lived and filmed as Santiago, in Paris.But if Santiago raised the underground permanence of evil, Solanas was betting hope. Which, curiously, went to pay off debts with the past and bet on the future, the brash, joy comedy from the grotesque to the musical (who could not feel the Spring Alfonsin had no face pure light of Gabriela Toscano ?).

3. A Place in the World, Adolfo Aristarain (1992)

Aristarain, one of the few Argentine filmmakers of his generation who understood perfectly that Hollywood was much more than an ideological advanced tools used to narrate the classic western Argentine epic space and its possibilities. “A place …” is, before a film “about Argentina,” a love letter to cinema as the universal language that makes local, by the mere fact of registering simple.

4. Gatica, the Monkey, Leonardo Favio (1993)

Favio made the great film about the meaning of Peronism, a pure metaphor and show. Everything is outrageous, gigantic, a remarkable and full ambition. Master of lateral traveling, to tell the characters through pure action, Favio made a film at the same time wild and accurate. It transformed into a huge circus underground Argentina, hidden, pure punch.

5. World crane, Pablo Trapero (1999)

There was a new film: Trapero, in black and white, tells the story of a man who loses his job. But not only that narrates the real consequences of menemista savagery, with images at the same time everyday and fantastic. Like a science fiction film where an invisible presence has corroded busy and all, “Crane World” far exceeds its misshapen machines, their Patagonian deserts, his impoverished suburbs.

6. Freedom, Lisandro Alonso (2001)

A mystery, or film as a mystery: A woodcutter in the forest, alone with his dog. We see it work, live, briefly traveling to a village, catch a mule, eat, dream. Nothing more, but nothing less: Alonso transforms such trivial gestures in response to the meaning of “freedom” declares the title. Everything remains on hold and play without being look like a documentary. The best film democracy: an interest in him and that.

7. The aura, Fabian Bielinsky (2005)

Argentine cinema lost, with Bielinsky, a teacher. After “Nine Queens”, an extraordinary police on the city as a moral place, “Aura” represented the almost dreamlike translation of what is hidden behind the mask of mediocrity suspense.It is not just the great role of Ricardo Darin, but a remarkable fantasy about desire and violence.

8. The Headless Woman, by Lucrecia Martel (2008)

Perhaps the best film about the consequences of the military dictatorship, without ever naming it. A woman may or may not have accidentally killed a boy.strange forces, voices half, a network of powers that manifest themselves laterally conspire to hide the possible crime. Authentic horror film (a genre that loves Martel), states with unbearable tension, basically, nothing much has changed.

9. Extraordinary Stories of Mariano Llinás (2008)

The bright, comic, emotional, adventurous, generous film that has given the Argentine cinema in the last three decades. Many stories with literary airs playing Borges, Kipling, Tintin, Hitchcock, Jane Austen, Mark Twain. There are rivers, crazy architects, assassinations, spectacular robberies, explosions, a great story of love, music, tanks, lions. And a lot mood: A shuffle and deal again, that seems to say enough to mourn the dark: it is time to come to light. The province of Buenos Aires never looked more beautiful.

10. The student, Santiago Mitre (2011)

The only, real, Argentina political film. The context is the university militancy, allowing circumvent the names of political parties and strict references to this portrait of a man who learns how to get and manage power (that’s what should be the real political cinema) have universal validity. Scarface at UBA, and an accurate portrait, while a decade too declaimed.

 


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