The shot is cleverly edited to look like a single camera movement which then shifts without a cut into a nervy extended chase scene filmed as a long take with a hand-held camera. El secreto de sus ojos es un drama argentino de temática policial estrenado en 2009 y dirigido por el director Juan José Campanella.. Basada en la novela La pregunta de sus ojos de Eduardo Sancheri, esta historia supone un viaje de ida y vuelta a través de un asesinato sin resolver que, después de 25 años, sigue marcando la vida de Benjamín Espósito. “The Secret in Their Eyes (El secreto de sus ojos),” in Rist, Peter H. Historical Dictionary of South American Cinema. 520-522. 20.9 (2010): 21. Two … De vuelta a 1999, el presente de la película, Espósito se encuentra con Morales y éste le confiesa que ha matado al asesino de su esposa. © 1999-2020 Even though he returns from exile and resumes his previous life, he remains a defeated man unable to follow up on his romantic yearnings and he and Irene never, as the dialogue makes clear, even mention the case. . London, UK: I.B. En ese sentido Benjamín intenta volver al pasado para sanar su presente y redimir su futuro. Bielinsky’s Nueve reinas.” Contemporary Latin American Cinema: Breaking into the Global Market. A further shared concern is the need to confront what Forcinito describes as “the paralysis that accompanies the impunity process” (69), the need to repress memories of historical events which would draw attention to the fact that the Pardon Law allowed murderers to walk around freely in Argentine society, which Forcinito considers to be central to the work of Lita Stantic and Albertina Carri. It is a hybrid, an “indie-commercial” film that contains elements from Hollywood, Argentine genre films, domestic political cinema and the New Argentine Cinema, mixing them together to create something that struck an unprecedented chord with audiences. Lanham, MD: Rowman & The film has a healthy balance of diegetic and non-diegetic sounds throughout its duration. In turning the camera on himself, even in his most vulnerable moments as a sick and dying man, filmmaker and activist Marlon Riggs demonstrated the futility of divorcing the personal from the political. Societal stasis shown as personal experience. Ed. While borrowing from traditional genres as disparate as melodrama, mystery thrillers and musicals, directors such as Maria Luisa Bemberg, Luis Puenzo and Fernando Solanas created films that allegorized the violence of the period (Falicov 71) by offering audiences “messages to decode” (Aguilar 16), a legacy that continues, according to Gonzalo Aguilar, in more recent films by filmmakers such as Marcelo Pineyro, Carlos Sorin and Eduardo Mignona (16). El amor y la venganza son los temas principales de este filme, enmarcados en un contexto de la Argentina de los años 70, que sirve como telón de fondo. David Hanley has a BFA and MA in Film Studies from Concordia University and is currently pursuing a PhD in Indigenous and Canadian Studies at Carleton University, where he has also taught in the Department of Film Studies. King's passion for bringing the blues to a wider audience is in full flower on the landmark album, Indianola Mississippi Seeds. There are constant and repeated close-ups of the eyes of various characters, and many scenes are staged to emphasize one character looking at another or will often feature a character standing to one side observing a conversation by two other characters in the foreground. Indeed, the area’s local football team, Racing, is not only mentioned, but a joke is told which only makes sense if one is familiar with the team’s nickname (“the Academy,” the devotion to which is why the notary is called Plato) and the working out of an important clue involves identifying and explaining the significance of several of the team’s former players. All rights reserved.PopMatters is wholly independent, women-owned and operated. You can hardly believe such a cliché exists in writer-director Juan José Campanella's previously excellent adaptation of an Eduardo Sacheri novel -- but then the sprinter herself calls bullshit on this 25-year-old memory immediately afterward, and both the characters and the viewers can have a laugh. However, while Campanella’s film was certainly commercial, it is more accurately placed in a sub-stream of Argentine popular genre cinema which can be described as “indie-commercial.” Further, it can also be taken as an example of transnational cinema in that it is carefully crafted to appeal to international audiences while containing references largely invisible to non-Argentines that enhance and layer its meaning for the domestic Argentine viewer. London, UK: The Tantivy Press, 1986. En parte, el background del personaje y la crisis personal del mismo simboliza la situación que vive Argentina en ese momento. London, UK: Wallflower Press, 2007. “On the Existence of the New Argentine Cinema.” New Argentine Film: Other Worlds. ¿Cómo se hace para vivir una vida vacía? However, this is not a fact that needs to be known to appreciate the sequence and is a good example of the film’s ability to be simultaneously local and international. That such wit not only exists, but is also frequent throughout this thriller about the rape and murder of a young Buenos Aires woman is one aspect of the impressive balance achieved by Campanella (who has stateside-TV experience directing episodes of House and Law & Order: SVU). Essays   A later example involves the initial viewing of the footage of the killer with Isabel Peron on Benjamin’s TV screen, which is in turn seen through the frame of his kitchen alcove. What is also interesting about these political messages is that they are easily identifiable to Argentines while simultaneously being close to invisible to international audiences, typical of transnational cinema’s characteristic of providing different messages for different audiences. 67-85. Como se ha destacado anteriormente, uno de los temas latentes en la película es la fragilidad de la memoria con el paso de los años. Avatar shows us that to fight for only the people we know, for simply the things that affect us personally, is neither brave nor heroic, nor particularly useful. Ed. The first is the photo of the victim which reveals to Benjamin who the killer is, and the second is the photo of Irene’s engagement party which reveals to Benjamin why he was able to interpret the first photo. Forcinito, Ana. But again, while this provides local specificity for domestic viewers, the comic way it is integrated means that all an international audience needs to understand the scene is that the notary is a sports fanatic, which is a type that can be found in many cultures around the world. Hitchcockian tension, a breathtaking chase, and ambiguous victims and villains seamlessly coexist alongside existential musing on how to handle what life throws at you and, ultimately, what makes it worth living in the first place. This repression and the limbo it places society in are mirrored by Benjamin’s never discussing the case with Irene, his belief that he has been “sidetracked for over 20 years” and even the revelation that Morales has never spoken to his captive during the 25 years of his imprisonment. The secluded island trope in films such as Cast Away and television shows such as Lost gives culture a chance to examine and explain the human animal in pristine, lab like, habitat conditions. Aguilar, Gonzalo. That is, underneath its ostensible lack of national signifiers, Nueve reinas makes savagely critical observations about Argentina and the economic meltdown it was then enduring. Esto se puede ver de forma clara cuando dos trabajadores son imputados arbitrariamente y condenados por el crimen con el fin cerrar el caso y exculpar al verdadero asesino, que estaba colaborando para la justicia a través del espionaje. It also helps explain the curiously gothic ending in which the killer is revealed to have been kidnapped and held prisoner for 25 years by the murder victim’s husband. This suggestion of reflexivity is reinforced by the film’s designating the photograph (and, by extension, film) as more reliable than the naked eye or memory.

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