Personas tomando sol en plena lluvia. Una caída y el alrededor luce imperturbable. Su inicio es confusión total. ¿Es un filme absurdo? No, y aunque ya respondida la lógica de la historia (o más bien de los personajes), Martel no deja de provocar un lado ilógico que estimula lo ambiguo. La moral y la cordura sujetando lo decadente, la desidia y la imprudencia que recuerda a la familia de "Las manos en los bolsillos" .
This is pretty impressive, though I early on began to be of the opinion that Martel's tactics are often too self-assertive, redundantly cynical, &, at times, kind of unpleasant. Though the film is filled to overflowing w/ detailed, suggestive visual ellipses, & endlessly shaded sound-design, these characteristics too repetitiously serve 2 underline the potential 4 violence within this milieu. Hated the final minutes.
Bourgeois malaise and the breakdown of class relations are depicted via queasy cameras and extreme close-ups, but there's also an interesting gender angle here (one that runs through Martel's other works too). What's not shown is as important as what is. Editing is tremendous.
This lady is a master. One of the best Directing runs of the first decade of the 2000's and this debut ranks with some of the best ever. A gripping look at the contentious, racist classism of the Argentinian ruling body as they slowly decay. Brilliant in every way
Lucrecia Martel's striking debut is a masterclass in filmmaking: a brilliant film full of well accomplished ideas. A subtle, keen & disturbing dissection of family decay that manages to create a menacing atmosphere of danger throughout. A contemporary masterpiece of Latin American cinema.