Director: Juan Jose Campanella (Juan Jose Campanella)
Starring: Ricardo Darin (Ricardo Darin)
This movie is full of contrasts. Light and darkness, justice and evil, the present and the past, can withstand careful scrutiny. The protagonist Benjamin is trapped in memories and cannot extricate himself from it. The murderer at large and the age of judicial injustice. Those dark years are both lingering hidden diseases and incurable stubborn diseases. Through Benjamin's pain and frustration, the film brings out another hidden master, Ricardo, who uses his tiny and helpless personal actions to pursue the murderer, hoping to comfort his deceased wife. There is not much space in this part, but at the end it breaks out with a powerful shock. Benjamin can have lost and recovered love, and he can only live in irreparable sadness.
The image of the victim given in the film is sexy and beautiful. Just as Benjamin saw Irene at first sight, the tragic scene of the murder scene was unbearable. Benjamin’s inner impact is well understood. Driven by instinct, he can't accept that beauty is ruined and destroyed. On the murderer's side, the director used a well-designed super long lens to show him, start chasing and bring him to justice, but just like the shot out of the frame, catching him does not mean that the case will be stopped. It is a terrible tug of war, football is round.
The murderer has a quiet appearance and careful thinking, and he doesn't seem to have anything to do with serious crimes of sexual violence. However, his eyes betrayed him again, and Jelena seized the flaw and forced him to lose his mind. The murderer "lighted the gun" twice, no matter which shot, this directly exposed his psychological characteristics. The invasion from primitive impulse is actually well understood, and it is easy to associate it with the high-handed rule of a dictator. They pursue absolute domination and kill you if they refuse to submit. The movie has some sporadic mentions that involve the times, and more often rely on the emotional backing of the characters to track the case and form a touch.
Many key emotional information are arranged in the eyes of the characters, from the hard-hearted protagonist to the key figure with fate, from the ugly murderer to the little supporting role guarding the side, the movie captures the secrets in the eyes and uses frequent expressions. The close-up brought out some subtle things. Benjamin was not brave and fearless, on the contrary, he was frustrated one after another and fled away. Jelena delayed her youth, and her friends who fought side by side killed her in vain, and all this was not comparable to the direct victim Ricardo. He could not find a suitable solution to the murderer. Was it hand-cut or forgotten? The former is too cheap for the other party to do, while the latter simply cannot be done. To kill or not to kill, this is not a happy choice.
In the face of Benjamin's pressing doubts, Ricardo's face became dark and ugly. They are just afraid of darkness and loss, but he has nothing to lose except for that love. After all, the feeling of life being worse than death is uncomfortable. Such painstaking punishment is cruel, but in fact it is a kind of dignity not to kill. Ricardo spent time weaving a skynet that is not terrible, making it difficult for the murderer to break free. Several men used their lives to make risky transactions one after another, and the cost was equally painful. Life is impermanent, and it is more difficult to let go. This is what the film says. [Southern Capital http://gcontent.nddaily.com/2/a2/2a27b8144ac02f67/Blog/c15/471d7d.html ]
Looking back at the old age of unconsciousness is very meaningful, and the hard work of the film has produced a magical effect. ——Jonathan Holland ("Variety") The
protagonist plays a dual role. When he was young, he was sad at work and could not grasp his personal happiness; when he was old, he looked back and saw what went wrong in his life. ——Deborah Young ("Hollywood Report") The
film makes the audience immerse and indulge in the emotional connection and relationship promotion of several main characters, which is relatively rare in the current movies. --Mike Goodridge ("Daily Screen")
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