I am never going to be the ideal audience for earnest political cinema of the Costa-Gavras school, but I readily concede that EL AMPARO is extremely strong. Made as it is in Venezuela by Venezuelans, this is a very professional film of strident artistic and political conviction. Eliding depiction of the massacre at the heart of this story is just one of the ways in which EL AMPARO is sophisticated and just.
A film that qualifies for demarcating the authenticity of the story since, as another reviewer writes, it fits into the general context of deprivation and cross-border crime from the cinematic merits in themselves. While acted with sensitivity and humanist zeal its film form relies mainly on close ups which reveal more of a lack of originality in portraying the isolated social milieu than a firm stylistic decision.
The first half is captivating, and includes some beautiful cinematic shots. The second part is somehow repetitive (officials behaving in the same way), though necessary. This is a story emblematic of the injustice that happens often in Latin America and of the unsung heroes fighting it.
El Amparo es de esas películas que ves y no podés dejar de pensar en ella por varios días.Te llena la cabeza de preguntas, te carcome la impotencia, te hace pensar una y otra vez en el sinsentido de la guerra y en el asco que producen las instituciones del Estado por ocultar la dirección de actores IMPECABLE, una historia cruda con una carga política muy marcada que escapa al en estado puro.
El Amparo is an affecting and moving film, and is open in its depiction of a tyranny of small men trying to cover up a military massacre of 12 innocent fishermen by any petty means possible - false confessions, intimidation or outright bribery, sowing divisions into a once united community in the process. It's simply told, perhaps too simply, as the film's resolution lacks the animus that its subject matter warrants.