Aimless and rambling but in a way which is of no real interest, the characters also being flat and one dimensional. I actually have great admiration for filmmakers who allow events to just play out but there is little substance to this and so it does not hold together.
This cult debut film from Martín Rejtman is a refreshing modern twist on the premise of "Bicycle Thieves" from Vittorio De Sica. By replacing the father in desperate need of a bike with a directionless teenager, the director finds new depths to explore and creates an insightful statement on the Argentinian youth of the 90s with a style that is just the epitome of effortless cool.
Eerily strange yet captivating. The human relationships robotic and surreal, scraped of all humanity. Fake money, video games, and motorcycles are enough. No passionate highs or depressive lows. Banal existence is life. No difference between strangers, friends, family, or self--it's all the same. Lucio (our protagonist) shaven as close cropped as his hair cut. Has time stopped? Who knows. He's lost his watch again.
A completely revelatory experience in understanding how the little accidents of daily life can be transcribed in such a droll manner. An ultra observational social satire laced with an in depth commentary on the section of Buenos Aires the story sets itself in, Mr Rejtman, just as any brilliant artist, delivers on any timeless art's responsibility of narrating vital truths of the period in time of its provenance.
I enjoyed the look, feel and pace of this film. It is episodic without feeling disjointed or hasty. The solitary street scenes evoked the mood and style of La Nouvelle Vague while the motorcyles, video games and fashion speak of a residual 80s aesthetic and philosophy. This is a film you can simply watch without deciphering, taking in the mundane absurdities and basking in the solitude of bored youth.
It's so difficult to get into this world if you don't know anything about argentinian cinematographic situation around 80s and also the social context when this film was made. Screamings, overgesticulation, characters constantly speaking and shaking their hands, the same old costumbrism (I don't know how to put it english) suddenly wipe off by this laconical, strangely humorous and even tender film. ESSENTIAL
maybe I'm reading too much of "bicycle thieves" in it, by i did see as a kind of late capitalism spin-off. there's no horrifying poverty, but there's still a sort of erosion into apathy and aimlessness (the mother that works abroad and spends what seems as her entire holiday compulsively vacuuming). nothing really goes your way, even if in this anomic state everything should be up for grabs.
Argentine auteur Martin Rejtman commands the misadventures of Lucio, a rather shy teenager that finds himself in a very liberal Argentina, delivering a very bold debut film that bets on a minimalist approach on both dialogue and length. It may not be for anyone, but the film does provide the audience with a provocative and hypnotic atmosphere that projects the stages of grief, and it's as simple as it should be.
Aimlessness conveyed through the symbols of the motorbike and fake currency, the repetition of mundane spaces and scenes, and a deliberate dry tone. Lucio, and almost everyone else, is depicted in stasis, this lack of initiative and improvement conveyed through the completely deadpan acting. It's just that the film is almost too dry and the humour achieved too far and few between. 2.5