The week of his 18th birthday, Bennie, who’s a waiter on a cruise ship, has a layover in Buenos Aires. He seeks out his older brother, Tetro, whom he hasn’t seen in years. Tetro, who lives with Miranda, is a burned-out case; he’s hot and cold toward his brother, introducing him as a “friend,” refusing to talk about their family, telling Bennie not to tell Miranda who their father is. Thoughts of their father cast a shadow over both brothers. Who is he, and what past has Tetro left behind? Bennie finds pages of Tetro’s unfinished novel, and he pushes both to know his own history and to become a part of his brother’s life again. What can come of Bennie’s pushing? —IMDb
He was born in 1939 in Detroit, USA, but he grew up in a New York suburb in a creative, supportive Italian-American family. His father was a composer and musician Carmine Coppola. His mother had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as soundman, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of This Property is Condemned, by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning?, and Patton, the film for which Coppola won a Best Adapted Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George… read more
A well-acted family drama with an outstanding score from Golijov, but let me go against the grain on the cinematography. Yes, stunning, but yet excessively good-looking sometimes (practically a Gucci's commercial). Except for it, all the rest pleased me-- specially “that” almodovarian plus/fetish. Ultimately, a very personal Coppola, which take us back to one of his finest films: the painfully underrated Rumble Fish.
Coppola turns his eye for visual presentation back to the evocative black-and-white of Rumble Fish, placing focus on lights, shadows, even aesthetic dichotomies over interspersed flashbacks within the narrative. Once again all interesting, but more than that it’s simply just nice, as its story centres on two brothers trying to come to terms with their strained relationship. Set amidst the passion, zeal and alegría of Latin America while preserving intimacy, honesty and charm, it ends up being quite a gorgeous rumination on family.
What is the 21st Century? is the column where Ignatiy Vishnevetsky tries to find an answer to the titular question. *** Above: Alden Ehrenreich
This film, in special, has attended my expectations. ‘Tetro’ marks the return of Francis Ford Coppola to independent cinema. The film was shot in black/white which I consider a great contribution to… read review
The much lauded black and white cinematography is stunning although derivative and at times too sharp (see early Leos Carax for Coppola’s template). Like most of Carax’s films Coppola’s suffers from… read review
This film had it’s fair share of problems before it started Matt Dillon dropped out of the lead role. Francis Ford Coopola felt the film was too close to RUMBLE FISH so he was kind of glad he dropped… read review