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The Clan may just be one of the most demented movies Argentina has ever produced. It’s a wide-eyed stare into the abyss of the legacy of its “Dirty War” of the ‘70s and ‘80s, where many opposed to the country’s dictatorship simply disappeared. During the South American nation’s transition to democracy a few supporters of the military junta had a hard time breaking habits. One fellow was Arquímedes Puccio, who dragged his wife and five children into complicity with schemes of kidnapping people for ransom.

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wild-tales-posterWild Tales, which was nominated for an Oscar in the Best Foreign Language Film category, is a series of six stories that explores themes of revenge through dark humor. Director Damián Szifrón takes an unflinching look at the “double moral” that pervades in Argentina — and much of Latin America, for that matter. The dark comedy explores human behavior when pushed to its limit and has a critical take of the current version of social relations in Argentina. The film’s characters all seem plagued by a deep sense of injustice, which pushes them to the edge.

The first story, “Pasternak” focuses on injustice at the individual level. A runway model Isabel (María Marull) checks into a flight and strikes a conversation with music critic Salgado (Dario Grandinetti). The conversation quickly reveals they have a common acquaintance that they both have wronged — she cheated on him and he wrote a life-changing negative review. Soon, more people on the plane find they are part of the coincidence. The shocking opening story is short and to the point, awakening the audience to a different kind of world, one with blurred social boundaries and a rather twisted sense of humor.

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“The Rats” is the second story, featuring a couple of female leads — proof that outrage and overheated reactions do not depend on testosterone alone. A waitress at a roadside small restaurant, Moza (Julieta Zylberberg), sees a man (Cesar Bordon) from her past walk into the restaurant. His complete disrespect for the server will have you rooting for her and the cook (Rita Cortese), who suggests a macabre plan of action. The next story is a personal favorite, “Road to Hell” where road rage and class disputes merge into an epic battle between the haves and have nots. The lengthier of these stories is “Bombita” where Simón (Ricardo Darín), a civil engineer who demolishes buildings for a living, takes a moral stand against the transit bureaucracy in Buenos Aires. This story will also have you questioning what is just and what is not and how those spheres overlap with what is legal and socially acceptable.

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The last two stories “The Deal” and “Til Death Do Us Part” present a scathing portrayal of the upper echelon. In both, Szifrón invites the audience to judge the paradoxical circumstances that push characters to the brink and makes them act out in extreme ways. The laughs come from Schadenfreude, but in the despair of these characters you will also find a moment to question whether social inequality serves any social purpose worth preserving — for both ends of the spectrum. For instance, in “The Deal” a rich father (Oscar Martínez) who is willing to do anything to save his son from going to jail, ends up being blackmailed by his lawyer, a long-time employee and even a state prosecutor. The twist in “The Deal” will have you second-guessing who are the winners and losers.

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In the closing story, “Til Death Do Us Part” well-to-do bride Romina (Érica Rivas) finds out that her newly minted husband Ariel (Diego Gentile) was unfaithful with one of the more attractive wedding guests. The discovery sends her on a rampage that blows up the entire wedding and will have you swept up for the complicated ride of love and jealousy. Szifrón’s storytelling is effective, with each piece cutting to the bone. The stories are short enough to keep even those with short attention spans entertained. Szifrón has a knack for spotting interesting stories to tell that deliver a punch, even if verging on the blunt side.

The score, courtesy of Gustavo Santaolalla, is one that heightens both the tension and humor. Take, for instance, the opening story. When the twist is revealed, a slinky number reminiscent of a western soundtrack will get you excited for what’s to come. The film is a co-production that includes El Deseo Production Company, the outfit headed by Pedro and Agustín Almodóvar, so it should be no surprise these stories are seeming tragedies that could have been plucked from the headlines and imbued with a dark, even playful sense of humor.

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At its core, Wild Tales deals with the infuriating consequences of lived social inequality at all levels. An uncompromising look at the effects of corruption in government, personal and familial relationships, this movie echoes a disgruntled majority that does not stand for abuse of authority, either state-sanctioned through bureaucratic apparatuses or via economic inequality. It will also echo with international audiences because it presents universal situations that most will find themselves relating with.

Wild Tales runs 122 minutes long, is in Spanish with English subtitles and is rated R (some violent revenge throughout and a bit of sexuality). It opens in South Florida on March 20th at the Coral Gables Art Cinema, O Cinema Miami Beach, Regal South Beach, and Regal Shadowood. For screenings around the country click here. Wild Tales was the opening night film at Miami Dade College’s 32nd Miami International Film Festival. Sony Pictures Classics provided a DVD screener last year for awards consideration.

Screening Update: Wild Tales finally comes to the Broward-based indie art house, Cinema Paradiso – Fort Lauderdale on May 1. Here’s ticket information.

(Copyright 2015 by Ana Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

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Risk-taking was the name of the game at the 32nd annual Miami Dade College’s Miami International Film Festival. Festival goers had to take many risks in choosing their tickets, as the programming staff took many risks on young, little known filmmakers. As with any such risk-taking, the results were mixed, and that made for surprise standouts but also some disappointments.

This writer saw 22 feature films and three shorts in all at the festival (not counting the four excellent Orson Welles films I am familiar with that screened as part of a retrospective that remains ongoing; details here). That I only liked nine out of all those films at the festival (and this number includes two shorts) made this one of the less impressive festivals I’ve attended in a long time. It was a shame considering last year I mostly had to decide what film I liked less than others to find any weaknesses.

Almost half of the films I saw at the fest were as a juror for the Jordan Alexander Ressler Screenwriting Award category, which bestows a first-time feature screenwriter with a $5,000 grant. My fellow jurors included Gary Ressler, whose brother the award pays tribute to. Ressler brought his experience with story development at Disney Studios, working on films from Mulan (1998) to The Incredibles (2004). Mitchell Kaplan, knows what makes a good story, as he is the founder of the Miami chain of the independent book stores, Books & Books, also joined us at screenings and in the deliberation room. It was a pleasure judging with them and an honor to have been included on the jury.

Before a few remarks on some of the contenders, which does not reflect the opinions of my fellow jurors, I might as well note the winner of our award, which also stands as a highlight of the film festival: Theeb. Writer/director Naji Abu Nowar and theeb-021co-screenwriter Bassel Ghandour took the prize, which was accepted that night by a very gracious Laith Majali, a producer on the film. The director was unable to attend the award ceremony because he was attending a screening of the film at a village called Shakryieh in the Jordanian protected area of Wadi Rum for some of the Bedouin actors who participated in the filmmaking. For some it would be a first-time film-viewing experience.

As for the quality of the film, it resonated on many levels. The script stood out because it not only told a sensitively intimate story from the perspective of a 10-year-old Bedouin boy, but it insightfully spoke to the tapestry of tribal life and brotherhood in 1916 Arabia as World War I loomed. Beyond that, the film has a timely quality due to the chaos that seems to constantly brew in the post-colonial world of the Middle East, which has caused generations of suffering and injustice. All of this comes across with a patient, delicate hand. Though the film was slowly paced, even drawn out sequences build toward some pay-off, be it an insight on the setting or the character or a shocking twist in the action. As my fellow juror Gary Ressler said, it says so much in so few words. Majali says he hopes the film gets U.S. distribution and sounds positive that a deal is in the works with a notable indie that specializes in world cinema. When the deal is secure, you can expect a more in-depth review for a film that is sure to continue to make waves in the world cinema stage this year.

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There were several awards given that night including two major ones for a film I didn’t like. Here is the full list of winners:

Knight Competition Grand Jury Prize: The Obscure Spring (Mexico)

Knight Competition Grand Jury Award Best Performance: Cecilia Suarez, Jose Maria Yazpik and the entire cast of The Obscure Spring

Knight Competition Grand Jury Award Best Director: Abner Benaim – Invasion (Panama/Argentina)

Knight Documentary Achievement Award: Tea Time (Chile/USA), directed by

Lexus Audience Award for Favorite Feature Film: Kamikazee (Spain)

Lexus Audience Favorite Short Film: Young Lions of Gypsy (Italy/France)

Lexus Ibero-American Opera Prima Competition:  In The Grayscale (Chile)

Jordan Alexander Ressler Screenwriting Award: Theeb (Jordan/Qatar/UAE/UK)

Park Grove Shorts Competition: Young Lions of Gypsy (Italy/France)

Honorable Mentions: A Tree in the Sea (United Arab Emirates) & Alba Baptista for her performance in Miami (Portugal).

Miami Encuentros: The Apostate (Spain/France/Uruguay)

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Grand Prize winner: The First Day
Audience Award winner: The First Day
Best Documentary: Romana
Best Drama: The First Day
Best Actor: Juan Jimenez – The First Day
Best Actress: Valentina Jimenez – The First Day
Best Director:  Rita Pereyra – The First Day
Best Technical Achievement:  Timothy Wilcox – Top Shelf

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Reflecting on the films in the Jordan Alexander Ressler Screenwriting Award, there were a few strong contenders in the group, including A Girl at My Door, a film from Korea by first-time feature director July Jung. The film stands as a smart, progressive example of story-telling in dealing with sexual orientation while both offering social commentary while staying true to strong storytelling. Almost as strong was Tour de Force (Hin und weg), a film from Germany by Christian Zübert. The film pulled more tears from an audience than I ever heard. It dealt with a group of friends taking a cross-country bike trip to Belgium. It all seems like a fun time until the organizer of the trip reveals the reason for the trip: he was recently diagnosed with ALS … and assisted suicide is legal in Belgium. In the end, there’s a big reckoning for all involved, as the specter of death invites everyone to reevaluate their lives. It was just too bad that the delivery of this message arrived in a self-conscious sort of classical storytelling tinged with sentimentality.

Another decent film in the mix was Love at First Fight (Les combattants). A quirky humor dominated most of this French movie, as Arnaud (Kévin Azaïs) gradually fell for tough-girl survivalist Madeleine (Adèle Haenel). When he follows her tolove-at-first-fight-f11 basic training, and she caves under pressure, she starts to fall for him. The two characters then tumble into predictable roles, deflating the original dynamic flirtation between these characters that made the film engaging at the start. This sudden shift in Madeleine’s personality also felt disingenuous to her once interesting character.

Many of the other films in this category suffered by unfortunate turns in plotting that unbelievably betrayed characterization, sacrificing any honesty to the story and disrupting the viewer’s suspension of disbelief. That was the problem with Cut Snake, which could not get character dynamics to click with plot. There’s a twist in the drama toward the end of the film that betrays what could have been an interesting love triangle. Meanwhile, the weirdly disjointed horror/family drama Shrew’s Nest was inconsistent about character development throughout. It reached for mystery but stumbled into incredible convoluted revelations. Then there was 3 Beauties. What should have been an insightful satire into the obsession of beauty pageants in Venezuela, tumbled into poorly managed black comedy that grew tiresome fast, as the filmmakers hammered on the same joke over and over again.

Even outside of required viewing, feature film highlights were few in comparison to the disappoints. We also saw Ben’s At Home, a comedy about a young guy who decides to become a shut-in after his girlfriend breaks up with him … until a beautiful delivery girl shows up. It was cute but grew tiresome fast. Everybody Leaves (Todos se van), based on everybody-leaves-021the popular autobiographical book by Cuban writer Wendy Guerra, had some promise. The film’s narrator was a little girl who looked like Mafalda and is at the center of a custody battle in pre-Mariel era Cuba. Colombian director Sergio Cabrera did a great job capturing the atmosphere of the beach life and the complicated dynamics of a family unraveling in communist Cuba. However, the performances were sometimes uneven, and there was something a little too disturbing about the abuse the little girl suffered at the hands of her alcoholic father.

My partner on this blog, Ana Morgenstern, was on her own for Sunstrokes (Las Insoladas), the second film by Argentinian director Gustavo Taretto, which proved to be another disappointment. Here’s what she had to say about it:

Sunstrokes offers a funny look a 1990s Buenos Aires via six girlfriends who sunbathe on the roof of a building. Each of the characters has a quirk, a personality so distinct it almost errs on the side of stereotypical. Flor (Carla Peterson) is the leading lady of the pack. She instigates some of the action and is the stronger character of the group. Kari is a psychology student, she is interested in esoteric themes, like psychoanalysis through colors. Sol (Maricel Álvarez) is relaxed, and early on reveals sunstrokes-51that she likes to make copies of other people’s photos when they are good. Vicky (Violeta Urtizberea) is a hairdresser whose portrayal almost verges on offensive. As the “naive” one of the bunch, she’s the butt of every joke. At one point in the film, she realizes that Ernesto “Che” Guevara is often referred to as “Che” because of his use of Buenos Aires’ slang. Then there’s Vale (Marina Bellati). Afraid of being alone, she goes everywhere with her dog and does not let the other girls speak ill around him. Finally, the newest of the group, Lala (Luisana Lopilato) is the youngest and is also very gullible. She believes in UFOs and does a great manicure.

Throughout the film the sextet of gal-pals talk about life and decide to work together towards a common goal: to travel to Cuba next summer — all while being featured in tiny bikinis. Each of the side conversations is mundane and motivated to expose the world of women as a vacuous and idle world, void of depth and pathos but filled with easy laughs and lots of skin. The film also draws inspiration from its era, so cassette tapes and tape recorders along with giant cellphones are featured prominently, also for superficial comic effect. In all, the film is a one-dimensional cartoon that almost verges in the misogynistic.”

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Ana did like Wild Tales, though, another film from Argentina. It opened the festival to uproarious laughter that filled the Olympia theater for much of the night. That film will be opening at several theaters in Miami this Friday, including the art houses O Cinema and the Coral Gables Art Cinema. A review is coming soon. Another film that premiered at the festival and coming to local screens very soon is Felix and Meira. It impressed the both of us and tells the story of the emotional wandering of a Hasidic Jewish wife for a secular man who can’t help but flirt with her. Canadian directors François Delisle and Maxime Giroux keep their approach low-key to the benefit of what could have been an overly quirky situation comedy. With the help of strong actors including a former Hasidic Jew who left that life to become an actor (Luzer Twersky) who plays the cuckold husband, the film stood as a highlight of MIFF 32.

The most consistent category for exciting, entertaining and thoughtful work came out the documentary portion of the festival. There were some big hype titles like Kurt Cobain: Montage of Heck and Wim Wenders’ return to the MIFF with Salt of the Earth, a film he co-directed with Juliano Ribeiro Salgado on the photography of his father, Sebastião Salgado. But the most thrilling documentary I saw was The Record Man, the-record-man-061-1024x576a film that looked at the life of Henry K. Stone, founder of Hialeah’s TK Records, which is best known for having produced some of the most popular Disco hits of the ’70s. Now, I never liked disco that much. However, the film swept me off my feet, and I was absolutely delighted by the storytelling behind songs like “Ring My Bell,” “Rock Me Baby” and “Get Down Tonight.” That Stone saw past race and color to support songs he felt had quality spoke to his purist approach to his business, and the film paints an affectionate portrait of the so-called “record man” that will win anyone over to the genre because it so genuinely celebrates music and the passion of those behind it.

Another smaller documentary that celebrated a different kind of artist was Architecture of Color, which focused on Rio de Janeiro artist Beatriz Milhazes. Like Record Man, it featured talking heads and a straight-forward approach. However, like Record Man, the film never loses its focus on emphasizing the art. As Record Man is at its best when it highlights the songs, Architecture of Color is at its most interesting when we are watching Milhazes create. Architecture of Color screened with another notable documentary, the 11-minute short “Papa Machete,” which was made by local filmmakers director Jonathan David Kane and producer/writer Jason Fitzroy Jeffers. It’s a film I have happily covered extensively for “Miami New Times” only because it is so good (read the articles here).

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I saw only one other locally-made documentary of note, The Holders. It certainly highlighted an important issue: the throw-away treatment of many pets in the Miami-Dade County area. Director Carla Forte provides an array of voices, from those working in public animal shelters to veterinarians to passionate, sometimes zealous animal rights activists. Most interesting, however, are the titular “holders,” who are ambivalent pet-owners prepared to give up their pets to certain euthanasia at animal shelters because the pet has become an inconvenience. The camera almost never identifies them but shoots them vérité style, from the shoulders down, at the shelter, as they nonchalantly give excuses as to why they can no longer “hold” them (too sick, the family’s moving, the dog pisses the carpet, etc.). It’s compelling stuff, which is unfortunately what made the film’s righteous tone, including an overly-sentimental voice-over featuring poetry that spoke of the intelligence and soul of animals, feel so heavy-handed. Still, those who think owning a pet might be “fun” should watch this documentary because, indeed, they are taking in another family member and all the responsibility that comes with such a decision.

There were other films we covered already on Independent Ethos. Check those out, including interviews and reviews, by following the Miami International Film Festival tag. It was a memorable festival, and I really feel humbled by executive director Jaie Laplante’s faith in my opinion to be granted an influence on blessing one of this year’s films with an award. Meeting fellow film lovers, filmmakers and film critics from out-of-town was also a great highlight. Tis an important part of the festival experience, and that stands as a great highlight of this year’s festival too. We attended several parties and had many intelligent conversations and some fun times. I only hope for more movies to love next year.

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Hans Morgenstern

(All images courtesy of Miami Dade College’s Miami International Film Festival. Text copyright 2015 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Vincent Moon in MiamiI’ve been a fan of Vincent Moon since 2010, however, I had never heard about him until last week. Before then, I had spent countless hours watching La Blogothèque videos and other films directed by Moon but never paid attention to his name. I became aware of this videos by just searching for music that I like, which I often play it in the background, but there was something so unique about the videos from La Blogothèque. They are filled with a humanity that is usually absent from music videos, the type of incredible connection you can have to a musician during a live concert. These videos were also adventurous, often featuring some kind of action in the streets that just seemed very exciting and spontaneous. It was only until I listened to Moon talk about his artistic philosophy and filming style at an event hosted by the Indie Film Club last week that I understood how someone can encapsulate so much humanity into a very small video.

Last Thursday, July 24, I attended a retrospective on Moon’s work (read our preview interviews here). It sounded half bombastic to me: attending a retrospective for a guy who’s not 35 yet and has not released commercial work under the auspices of a big production house. Nonetheless, I was intrigued because of my own personal connection to the music that is in most of his work. The setting was The Screening Room, a small gallery in Wynwood, an unassuming room filled with fold out chairs and dozens of aspiring filmmakers.

The talk started as a friendly Q&A led by Diliana Alexander, Indie Film Club’s executive director, who admitted to the audience, “I’ve been trying to bring Vincent to Miami for years.” And there he was in front of an eager, capacity audience. He described his philosophy of making films as an artist would. He creates content that is free of charge and uploads it to Vimeo, YouTube or his own website for everyone to enjoy. His budgets are non-existent. “I believe it keeps things pure,” he said in a heavy French accent (he grew up in Paris, but has no specific home since about 2008). Indeed, the artist approaches each project from a human perspective, his goal, he described, is to make people look beautiful and showcase beauty through what they do: music. But much to my surprise he sees music as an expression of community and culture. He looks at musicians as generators of culture or providers of meaning as a cultural expression.

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Diliana Alexander and Vincent Moon

Moon quickly took over the conversation and often interrupted the discussion to share some of his favorite videos. In all of the highlights he shared, he described them as an experience that could not be replicated. Someone in the audience asked him about preparation ahead of each shoot. He said he travels around the world and meets with different musicians and people whom he records, but there’s no direction. When asked about research, he scoffed, paused and said that he traveled to each location without preconceived ideas. That’s when I understood the marvel behind the videos because you are experiencing with him something unique through his camera lens. One of my favorite videos he shared that night is the following. It took place in Argentina and you can see how it captures a moment in time that is quite special. The background sounds add an atmospheric layer that cannot be replicated– Moon mentioned it was firecrackers among other sounds that you can hear in the background adding an almost surreal percussive accompaniment.

As the night went on, a lot of the filmmakers wanted to know how he survives financially or how the artists themselves benefit, as his work is freely available to anyone for download. He was a little puzzled by the questions, just as puzzled as the audience about his disregard for “making it big.” He picks places based on a feeling and admits that his worry is the opposite. His concern is how big budgets actually take away something from his work. He relishes the freedom and challenge of working with minimal resources because limitations spark his own creativity.

I am only thankful to Indie Film Club for creating a space where directors like him can be featured at Miami venues. I leave you with my favorite videos (part I and II) from the Take Away shows. Shot in Colombia, featuring Bomba Estereo. I love how the music blends with the landscape…

Ana Morgenstern

(Copyright 2014 by Ana Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Sometimes a drama need not divert into histrionics to be moving. Las Acacias has a sublime quality that quietly charms with the most minimal of drama and sparest of cinematic techniques. With his debut, award-winning feature*, Argentine director Pablo Giorgelli presents a film that takes its time and subverts the need for heavy-handed personal conflict to create the subtlest of love stories.

Las Acacias follows Rubén (Germán de Silva), a truck driver hauling tree trunks from the jungles of Paraguay to Argentina’s capital city of Buenos Aires. After the film spends 10 minutes with no dialogue following Rubén driving alone in his truck, sipping mate and stopping at a truck stop to wash his armpits and face, he meets someone who will throw a loop into his usual route. On this fateful day, he is to transport a relative of his boss’ housekeeper, Jacinta (Hebe Duarte), and she has brought along her 8-month old baby, Anahí (Nayra Calle Mamani). “Is the baby yours?” Rubén asks, casually puffing on a cigarette when Jacinta approaches with the baby in her arms.

“Yes, she’s my daughter,” she says.

“Fernando didn’t mention a baby,” Rubén says, taking another drag on his cigarette.

“I told Mr. Fernando I was travelling with my daughter.”

Their exchange is casual, as if someone forgot some little detail in the deal. Maybe Rubén missed the mention of the baby or Fernando forgot to tell him about the baby or Jacinta did not specify to Fernando her daughter was an infant. The tension that arises feels slight and real. During the road trip, Rubén often glances over at the baby as she stares back with a smile that seems to melt the perpetually frowning man. The infant’s fresh, round face and large curious eyes present a dichotomy to his gray stubble and wrinkles. When he took his bath in the sink earlier, a huge scar from his left shoulder down his back reveals Rubén as a man with a painful past. We don’t have to know what happened, but as the film unfolds, his personal scars will also casually arise.

Giorgelli, who also wrote the film’s screenplay with Salvador Roselli, is not concerned with revealing mysterious pasts. Instead, he indulges in the sustained, but pregnant moments of quiet. When Anahí begins to fuss after Rubén takes a couple of puffs from a cigarette at the start of their drive, he tosses the cig out of the window. “Gracias,” says the mother who never asked him not to smoke to begin with. However, Anahí will not stop crying, and he gets quietly annoyed when Jacinta has to repeat “She’s hungry,” and they must stop for a warm bottle of milk. After a cut to the interior of the restaurant, they sit in silence, as Anahí suckles on the bottle. Time passes only through the cuts in the film and switches to different, sustained, straight-ahead angles. Jacinta never apologizes for any perceived inconvenience. When she disappears with the baby to the bathroom, Rubén asks the girl at the restaurant’s counter if she sells bus tickets. After Jacinta re-emerges from the bathroom, he drops the bus conversation. It is one of only a few moments of discrete tension that arises in the film.

Though the film is spare in its dialogue, its brisk, 85-minute pace never drags. María Astrauskas edits the film with a discreet rhythm that never betrays the passage of time but never allows the camera to linger so much to detract from mundane images of the dusty road. The actors remain mostly silently, exchanging glances loaded with genuine interest. Giorgelli knows how to harness the power of the child’s innocence in the purest of forms, maintaining distant long shots from Rubén’s perspective, avoiding any quick, indulgent close-ups. The child behaves as a child does, allowing the viewer to contemplate the sublime innocence of that child. For most of the film, the sun infuses a beautiful orange glow over the proceedings. Though the truck and its stops along the way are often dusty and worn, the film never seems to present a decrepit atmosphere of the lower class. The scenery never appears dirty, but earthy and real. The two actors have the appearance of down-to-earth people and never exude stagey, over-dressed sex appeal or appear out of place.

The film also has no music whatsoever, within the action or outside of it as mood modification (what film people know as both diegetic and extra-diegetic music). If there is any musicality on the soundtrack, it comes from the truck’s engine. The vehicle’s rumble phases through tonal shifts as Rubén maneuvers through the gears. The sound of the truck engine and the shifting of the transmission offers the only score to the action, and it suits the mood of this travelogue through South America’s spare countryside as well as anything else could have— maybe even better.

As the film progresses, little morsels of information come out between the travelers, as the child provides the objectification of innocence. Though she says nothing, and is probably minimally directed, she embodies the purity of how all human beings begin, open to everything and caring for nothing except food and company. Neither ideologies nor existentialist explications have a place in this truck cab. The only mystery that arises is the bond that forms so unquestionably between the truck driver and the young mother and her child. It grows at a gradual pace, from the purest of places, like the subtle flower that inspired the film’s title. Las Acacias has only the slightest of tension but remains full of the most minimal of soulful understanding.

Hans Morgenstern

Trailer (Note: the amount of edits in the preview below belies the quiet pacing of Las Acacias, and is not representative of the film’s true tone):

*It deservedly won the Camera d’Or for the best first feature at Cannes in 2011.

Las acacias is not rated (nothing about it should be offensive), is in Spanish with English subtitles and runs 85 min. It plays exclusively in South Florida this Friday, Nov. 9, at the Miami Beach Cinematheque, which provided a DVD screener for the purposes of this review.

Update: the film returns to Miami for a short run at the Tower Theater beginning Dec. 21.

(Copyright 2012 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)