Beware; this film is not magical. It is only the fact that I'm in love with my country's cinema that I believe in its magic and I believe we can make great things. When "El hijo de la novia" obtained an Oscar nomination, I couldn't believe it. Then next year they chose "Kamchatka": wrong, because they had Carlos Sorin's "Historias Mínimas", a much more powerful story. Besides all this movies by known and successful directors, we sometimes get a film by a first time director, who tries to enter in the industry. I'm talking about Diego Rafecas and his film "Un Buda".
Sadly, Rafecas' ego is pretty big and the movie starts with "a film by Diego Rafecas", then he also puts his name on the cast; because he is one of his film's main actors. Near the end we see again, "produced by Diego Rafecas", "written by Diego Rafecas", "directed by Diego Rafecas"...But it's not those credits that always appear in movies, with the directors' name and so; you feel the ego in this movie's credits. Leaving the ego behind, the opening credits are beautiful, with high views of the city. During the rest of the movie we will be impressed by the beautiful scenery, in Córdoba or any other location Rafecas' camera decides to work.
As a first work by a first director, I must repeat it contains those typical betraying elements. Rafecas also wrote the film; his script is intentionally pretentious, metaphoric and more than intelligent. This is obvious, to anyone who instantly reads the title, and realizes the movie deals with Buddhism. At some points, the intelligence works, like in Rafael's (Rafecas) relationship with Sol (Julieta Cardinali); Rafael being a professor almost philosopher and Sol being his student. How they share their opinions about the culture's theme during one scene is amazing to hear. I don't know anything about Buddhism, but once I was convinced the movie dominated the subject, I could enjoy the ride.
The film messes with our mind, trying to surpass, as I said, our intelligence. But is also an enjoyable ride because it deals with other strong topics as family, relationships and the depth of the heart. When Tomás (Agustín Markert) is lost, and seeks for help in Laura's (Carolina Fal) love, who then looks for Rafael, we feel it. That's how it gets to us, or how it got to me. I enjoyed the warm music, so engaged with the environment of the film. I enjoyed how sure the movie seems to be of its plot and characters, who would seem totally crazy and impossible for any of the people watching the story.
There were less than ten people watching the film with me. I went because of my love for Argentine cinema and because I saw a notice that said: "The conservative critics won't understand it; we want your opinion. The internal revolution". The Argentinean critics hated it, despised it. I didn't loved it, but found charm in Rafecas' direction and performance, fell in love once again with Julieta Cardinali's beauty and gifts, was amazed by Agustín Markert's natural talents and was pleased to see Carolina Fal in her best work.
The rest of the plot, the situations propose a lot to talk about...But I won't get into that because it's not necessary.
Sadly, Rafecas' ego is pretty big and the movie starts with "a film by Diego Rafecas", then he also puts his name on the cast; because he is one of his film's main actors. Near the end we see again, "produced by Diego Rafecas", "written by Diego Rafecas", "directed by Diego Rafecas"...But it's not those credits that always appear in movies, with the directors' name and so; you feel the ego in this movie's credits. Leaving the ego behind, the opening credits are beautiful, with high views of the city. During the rest of the movie we will be impressed by the beautiful scenery, in Córdoba or any other location Rafecas' camera decides to work.
As a first work by a first director, I must repeat it contains those typical betraying elements. Rafecas also wrote the film; his script is intentionally pretentious, metaphoric and more than intelligent. This is obvious, to anyone who instantly reads the title, and realizes the movie deals with Buddhism. At some points, the intelligence works, like in Rafael's (Rafecas) relationship with Sol (Julieta Cardinali); Rafael being a professor almost philosopher and Sol being his student. How they share their opinions about the culture's theme during one scene is amazing to hear. I don't know anything about Buddhism, but once I was convinced the movie dominated the subject, I could enjoy the ride.
The film messes with our mind, trying to surpass, as I said, our intelligence. But is also an enjoyable ride because it deals with other strong topics as family, relationships and the depth of the heart. When Tomás (Agustín Markert) is lost, and seeks for help in Laura's (Carolina Fal) love, who then looks for Rafael, we feel it. That's how it gets to us, or how it got to me. I enjoyed the warm music, so engaged with the environment of the film. I enjoyed how sure the movie seems to be of its plot and characters, who would seem totally crazy and impossible for any of the people watching the story.
There were less than ten people watching the film with me. I went because of my love for Argentine cinema and because I saw a notice that said: "The conservative critics won't understand it; we want your opinion. The internal revolution". The Argentinean critics hated it, despised it. I didn't loved it, but found charm in Rafecas' direction and performance, fell in love once again with Julieta Cardinali's beauty and gifts, was amazed by Agustín Markert's natural talents and was pleased to see Carolina Fal in her best work.
The rest of the plot, the situations propose a lot to talk about...But I won't get into that because it's not necessary.
