ElianaM Reviews

Mein Vater, meine Frau und meine Geliebte (2004 TV Movie)

Family Saga Recounts the End of the Austro-Hungarian Empire

[9/10 · 17 January 2007]

The film represents the journey of a bourgeois family in the last few years before Austria-Hungary decreed its demise by starting WW I in 1914. I must say first that this movie feels like the typical quality European TV "historical dramas" always playing on the Eurochannel, where I watched it. Eurochannel shows TV films and miniseries produced mostly by Canal Plus and ARTE in the Americas, principally in Argentina, Brazil, Canada and Mexico.

But, as IMDb doesn't show this title as TV, I must be wrong. Nevertheless, my comment above reflects my overall assessment of the film: it's a good and short historical epic, with the requisite family drama thrown in to dramatize events. This family shows us the tremendous gaps between classes in the Empire, as well as the clash of nationalities, which were bound to explode, in WW I or since 1992 with the wars dismantling Yugoslavia, which was the southern part of the Empire, mostly.

The plot goes more or less like this. Ernst (Florian Stetter), son of a respected ophthalmologist who runs his family with a strong hand, expecting his son to become a doctor also. But Ernst's first days as a doctor is far from his father's ideals. He marries the pregnant house maid to preserve family honor only to discover that she lied about his causing the pregnancy.

After suffering this deception, Ernst begins a torrid romance with a noble, married woman. Both risk everything to live out their great love. However, as Ernst's medical career evolves, as a war doctor, his personal life bites the dust.

Ernst ensuing conflicts with his father, his (ex) wife, his lover, and his wish to embrace psychiatry (against his father will) are all influenced and interact with the end of the war, and Austria's new fate. This is a good film for those who enjoy the genre.

Pink Punch (2004)

Good crime film in line with the new Mexican cinema

[9/10 · 5 November 2005]

This film, currently playing on Latin American Cinemax, for those of you out there in cable TV land, is a good crime film in the general mold of the new Mexican "reality" cinema ("Amores Perros", "Nicotina" & the like).

This one is somewhat different in that it is not located in gritty Mexico City. Its depiction of life in a Mexican jail and its variety of inmates add freshness to what is becoming a somewhat over worked genre. The film's location at a large city just on the other side of the U.S. also allows the film makers to address issues and crimes inherent to border towns, another welcome difference from recent Mexican films exported abroad.

The title refers to one of the main characters who is a boxer "Pink Fists". But don't be fooled, this is not a boxing movie. The part time boxer (also a mortician) becomes involved with the world of crime by accident - being at the wrong place at the wrong time. His consequent involvement with this underworld is what moves the film. Definitely recommendable.

Swindled (2004)

Outstanding Criminal Thriller! Great cast too

[10/10 · 5 November 2005]

This is an outstanding criminal thriller, and with a great cast too. Spanish language cinema's best and most popular actors of the past couple of decades, Victoria Abril and Federico Luppi, team up in one of the better Spanish language crime thrillers of 2004-5.

The film begins by focusing on thirty something Ernesto (Ernesto Alterio), an elegant, attractive and slick thief who learned from childhood friend Gitano, and more recently from Manco, an old seasoned swindler. Manco introduces Ernesto to Federico (Federico Luppi), an also elegant, but more astute & experienced methodical thief - the best in his class.

Federico's only known weakness is Pilar (Victoria Abril), his former mistress and partner. She suddenly appears and proposes a fabulous rip-off scheme to her former lover, a crime in grand scale, which will eventually require the help of Ernesto, Manco and Gitano, among others.

The script is full of twists and surprising reversals, particularly towards the end of the film. One criticism about the film I've heard a lot is that there are too many plot twists towards the end, but I disagree. The film captivates the audience so much that all the unexpected events are not too much to follow. In fact, these are what make the film outstanding. I highly recommend it.

The Hidden Führer: Debating the Enigma of Hitler's Sexuality (2004)

Gay or not, Hitler's life captivates;the vintage images alone are worthwhile

[10/10 · 27 December 2004]

Whether Hitler was gay or not, how sexual (or not) he was,... these points will always be debatable, and stir great controversy.

This documentary is based on a well researched book by a known (not gay) historian, who claims Hitler was gay, after dedicating a good part of his life to researching the claim. He and many other eloquent characters (including Hitler era survivors) are interviewed masterfully in this film, alternating with extraordinary vintage images, rarely seen - even for those who think they've seen it all.

These "lost" images alone make this film a must watch. Additionally, the arguments (pro and con) about Hitler's sexuality are very well told using cinema as a medium, especially when compared to a book as a medium for this debate. The live testimonies in both German and English, from contemporary intellectuals, and from witnesses who were there 60 or 70 years ago, plus uncovered "secret" letters, passionate arguments from the "he was gay" camp and the "he wasn't gay at all" side ALL come together to make for a powerful documentary.

A must watch, and a shame it has been restricted mainly to gay film festivals so far. The film is of great interest to all; proof that even the worst monster is often a mere human, surrounded by all the speculative gossip we all suffer: a complex contradictory paradox, ultimately unable to really decipher after death. But it's sure fascinating to speculate with so many "irrefutable theories" and passionate opinions abound.

A Dot and a Line (2004)

Wonderful movie about a rarely shown war

[10/10 · 1 November 2004]

While the underlying theme and plots of most war movies are similar, this film at least adds the novelty of this rarely shown, but nevertheless, very critical and crucial world conflict.

I (and the film) refer to the drug traffic/coke labs/Maoist rebels/ Venezuelan/Colombian feud. It's a multi faction civil war that is rarely talked about since, of course, the area is neither in Eurasia or North America. But the coke and crack consumers that keep it going are. So, though dozens of films continue to address Bosnia and the ex-Yugoslavia (close to "Europe" and the Middle East), hardly any have been made about this ongoing war which is even more complicated, and ongoing than any other, and closer to many Europeans and North America drug users than anyone wants to recognize.

This film is a light, comedic way of educating those in the "rest of the world" what those around you may contribute to, if not cause, this war and keep it going, fueled by continued consumption of drugs from South America (virtually all, if not all the coke and derivatives, plus marijuana, with a sideline of Ecstasy production, this last drug not native to the area). It is also an interesting take on Venezuelan/Colombian relations along the long, drug, and guerrilla infected border they share.

The film is not at all a sermon about this subject. I personally make it a point in this comment to highlight why the film is so unique, so worth watching. All this, in addition to its being a wonderful, entertaining film, showing human qualities and frailties which can be appreciated anywhere.

Truly exceptional, this film has been a hit at all the festivals it's hit so far. Here in Brazil, it was a hit in Rio in September, and is on the list of the top ten most-voted films at the S. Paulo Festival in October/early November. Highly recommendable!

Esperando al mesías (2000)

Original; Among the best South American films of 2000

[10/10 · 13 June 2001]

This outstanding Argentine independent film is one of the very best of the year 2000 from all South America, including Argentina, which is producing an astonishing number of quality films since 1999. In 2000 alone, Argentina released many quality films, which broke Argentine B.O. records. A half dozen were internationally acclaimed, like this one, at important world film festivals. After viewing this film, one can see how home grown Argentinian films were able last year to recapture 20% of its national movie market.

Directed by one of Argentina's best directors, Daniel Burman, this film examines effects of globalisation worldwide, but emphasizes its impact on Argentina, and particularly the Jewish community of Buenos Aires. Daniel Hendler is wonderful as the nice Jewish boy, trying to survive and even succeed in today's business climate. Hector Alterio, one of the great actors of Hispanic Cinema worldwide, is perfect as Simon, the Jewish father, as is the rest of the cast, which includes Spanish and Italian stars.

So many current themes in urban Western societies are explored, I don't have enough space to go into detail. Daniel Burman cleverly weaves them into the plot with different characters personifying diverse dilemmas. If this film plays at a festival near you, or on video, don't miss it!

Anita no perd el tren (2001)

Life as a late middle aged woman, in Catalan

[10/10 · 23 May 2001]

"Anita..." deals with the issues of an aging 50-something woman in a Latin European city. It is the latest film by Ventura Pons, the Spanish director well-known for Catalan language dramas. Like his other films "Amic Amat" & "Caricies", this one is also set in Barcelona. And also like another couple of Catalan films, the movie stars Rosa Maria Sarda, one of Spain's best and most veteran actresses, whether in Spanish or in Catalan.

Other than the language issue, the film is not all that unique. But, the film excels through subtle details by Ventura Pons, through Rosa Maria Sarda's poignant (perhaps quite personal) performance, and with the comic-relief provided by the reliable Maria Barranco. I highly recommend it if you enjoy this genre of films, or are curious to see a Catalan film.

South Pacific (2001 TV Movie)

An older cast in a new version

[7/10 · 23 May 2001]

Maybe, it will take something like MOULIN ROUGE to revive the American musical genre. What we see implied, once again, in this new "South Pacific" is that no youngish actors can either play or want to be in the classic ones anymore. Furthermore, the characterizations have changed, the singing is anything but innovative.

Fifty to fifty-five year old women in roles written for young women in their twenties or thirties; an aging Yugoslav playing a not-so old Frenchmen; Ethnic Chinese replace Polynesian islanders; More "natural" singing replaces the operatic or "pop" voices of old....

All these are typical of the new 2001 Version of 'South Pacific,' last shown on a screen in 1958 starring a young, musical starlet (Mitzi Gaynor), a dashing Italian as the Frenchmen, and a Polynesian looking woman.

OK. A different style. But, I believe "creative casting" is only possible in staged musicals or operas, not in a new "modern" version. Still, the version, new or old, should be historically correct, and avoid rewriting American military history. Though politically correct, unsegregated groups of multi ethnic servicemen, the African American ones singing and dancing in arms with their white counterparts in particular, are just unacceptable, even offensive to previously disadvantaged races, whose past is mocked by being sanitized like this.

The times have certainly changed, and this production's only obvious achievement is the obvious, almost archival comparison that contrast 1958 and 2001 sensitivities, and realities. It is now confirmed that great singing is strictly the reduct of the filmed sung opera; ethnic Chinese and Indians have taken over the South Pacific islands; and mid 50s is the undisputed prime of life, the age to fall in love, an acting "like a schoolboy" or a "schoolgirl."

As for those last lines, maybe they should be rewritten as in "West Side Story" where Maria no longer "feels pretty, and witty and gay," but rather "pretty and witty and bright."

It will be interesting to see if in another 43 years or so, 30 year old navy seals will be in their sixties; a Frenchman will be played by anyone remotely European, and whether there will be any attempt at all at singing the songs as originally written-that is, for singers!

This production is a Geritol-set, rapper-like version of SOUTH PACIFIC, in a rewritten historical context.

Really, as much as I admire them, how much longer can the ageless Glenn Close and Bernadette Peters, both now well into their 50s, remain ageless and the only female musical stars of Anglo-Saxon culture worldwide? The only ones who appear in TV or video musicals. Can the American musical ever come back as something close to the original? Other than as dubbed Disney cartoons, of course.

This SOUTH PACIFIC suggests the art form is forever gone. Well, maybe Madonna, Whitney Houston, and John Travolta are its future, if they ever come out of their eternal adolescence. Or is its future a totally revamped Hollywood musical, like one hitting the screens now in 2001?

El viaje de Arián (2000)

Basque terrorist faced with the dilemma of killing woman in cold blood

[8/10 · 1 May 2001]

A timely movie, dealing with ETA, the infamous Basque terrorists who have again stepped up their campaign in Spain and France. To make a "meaningful" yet entertaining film about this, one does, what else? A moral dilemma drama.

In it, Arian is a young activist, in love with her marionettes and Vivaldi-a veteran ETA member. One day, she is asked to work as an informant for this terrorist group to obtain information about a woman whom they plan to kidnap. Arian remembers her fathers saying, "I've always been willing to die, but not kill for my country." However, she joins the group after all and her life starts heading into a dead-end street.

The film is worth watching not only for its subject matter, but for the excellent ensemble cast, headed by Ingrid Rubio, arguably Spain's best young dramatic actress.

A Night with Sabrina Love (2000)

The ultimate fantasy for a 17 year old-winning the contest for a night with Ms Love-THE porno star

[9/10 · 1 May 2001]

The film offers a glimpse into the life of a small town teenager: his routine, ideals, friends & family, and his ultimate fantasy. It also presents the striking differences in Argentina between its dominating capital (where about one third the population of this huge country lives & controls everything) and the rest of the country. Additionally, it is an excellent vehicle for Cecilia Roth (ALL ABOUT MY MOTHER), as the much-desired Sabrina Love.

Daniel Montero, a seventeen year old, he enjoys his nocturnal rite: to watch the program of the ultimate porn star. So, when he wins the contest to spend a night with Sabrina, he feels he has struck gold. Sabrina awaits him in her TV studio in Buenos Aires. Daniel starts his journey from the isolated town where he lives with his grandmother since his parents died. His life is boring; he has a disgusting job. In his journey, Daniel discovers the world and finds himself in a hazardous and eventful life, with a gallery of men helping him to grow through wisdom, and mischievous advice & lies, a young woman who seduces him, and of course Sabrina, her producers and her colleagues in the porn industry.

It's a fascinating look at many aspects of a teenager's life, and self-discovery in this new era in South America. Also for Ms. Roth, the international award-winning actress known for very heavy dramatic roles, this film is a complete about face. She proves to be just as adept in comedy as she is in drama.

Km. 0 (2000)

A menagerie of Madrid's humanity in heat!

[10/10 · 30 April 2001]

This hilarious and hip farce follows the 14 strangers of various classes, ages and sexual preferences, each of whom has a date with the other at 6 PM at Km. 0 (the exact center) of Madrid. The heat is unbearable (hint- metaphor). After a romp through the most outrageous (and comical) situations between 6 PM and the proverbial midnight hour (another metaphor), each will find the person/significant other he/she wants. This ideal companion may change (even a few times) during the course of the evening. But by midnight, Mr. or Ms. Right may not be the original date.

So, the plot's not too original...perhaps too many corny metaphors? But that only adds to the satirical appeal of this farce. Its real forte' are the ingenious situations, the linkage of the characters, and the location for absolutely screwball, sexual, and crass humor, which only a tolerant and modern Latin European capital affords. Great comedy!

Burnt Money (2000)

In five words: a gay Bonnie and Clyde

[10/10 · 30 April 2001]

That wraps it up. Both films feature comparable nonstop action (in crime and in love), two young super stars (big names in their respective cultures), basically the same plot (change the location to Argentina & Uruguay in the 1910s here), and roughly similar shock values, relative to its time of release. My, how times change!

Volaverunt (1999)

Sweeping historical epic about the Duchess of Alba, Goya's "Naked Maja"

[9/10 · 30 November 2000]

This historical epic, a rarity for quirky Catalonian director Bigas Luna (JAMON, JAMON, GOLDEN BALLS), is quite an achievement. One which has been undeservedly maligned by many. Aitana Sanchez Gijon has been praised for her performance as the Duchess of Alba, having won the Best Actress award at the 1999 San Sebastian Film Festival. The rest of the stellar cast: Penelope Cruz, Jordi Moya', and Jorge Perugorria (as Goya) are at least adequate, and the art direction, and look of the movie are both breathtaking.

Chill Out (2000 TV Movie)

Same Old, overworked "new" love triangle"; girl meets gay/bi guy. Then, enters the 2nd guy

[5/10 · 22 November 2000]

This run of the mill German TV movie is directed by the charming Andreas Struck, who recently came to visit us down South American Way (along with fellow gay film maker Wieland Speck, the latter honored with his own Retrospective). Andreas came to premiere his TV movie as a feature film at the heavily German-oriented Mix Brazil 200, the 8th Annual Film Festival of Sexual Diversity, which usually travels through four South American cities in November/early December................ The organizers may as well have added the qualifier; "- and showcase of the German gay film and 20th century history" to the Festival's title. Following last November's premiere of Rosa von Praunheim's EINSTEIN OF SEX, and the neo-Nazi skin head OI WARNING!, MOLOCH, and several other rather extreme examples of German film and history, Sao Paulo's film and history buffs were treated to an unprecedented follow up this year............. It was in this context that CHILL OUT was presented. As part of this extraordinary Teutonic feast of sexually charged, educational and homo erotic film making, it was unfortunately put to shame; just way out of its league. Premiering the same day a controversial showing of Leni Riefenstahl's "Olympia II, Festival of Beauty" coincided with the South American premiere of the acclaimed documentary "Paragraph 175," CHILL OUT clearly came off as amateurish and banal. Even without the formidable competition from its counterpart German features shown, the other (French, Japanese, South African, Brazilian, but mainly American) films and shorts, the other 'sexually-diverse' films, already acclaimed at Sundance, Berlin, and throughout the world, were clearly in another league........The directors of this Festival are very Berlin-oriented, and CHILL OUT obviously rode on Berlin's coat tail. It is an average TV movie to be seen on a cold night, at home, and expecting the now standard 'love triangle' of the '90s and '00s, with the equally pervasive themes and locales of re unified Berlin, its reconstruction and transformation.......... As a Germanophile, I found it tolerable. Most of the sold-out audience sat through out as a sign of respect to the director, and expecting the heavily-hyped electronic sound track, which, sadly, was about as unimpressive as the film. Its not-long 91 minutes seemed merciless as the plot thickened with sub plots of chance happenings, accidents, stolen credit cards, and a very contested last will and testament....The director is a really nice guy though. And I think he enjoyed his first trip to Brazil. Outside this festival setting with a captive audience, however, I think the film would be unwatchable.

Warsaw: Year 5703 (1992)

Not bad psycho drama amidst the Warsaw Ghetto Uprising

[10/10 · 16 August 2000]

If you like a sexy psycho drama in historic context, with big European star power, this film is for you. The lives of three people tragically clash in this story of oppression, forbidden passion, betrayal and revenge, all this in the face of death. This is an unusually good exploration of the human condition under duress. It also offers us the opportunity to see three of Europe's super stars being and looking 10 years younger. This includes a teenage looking Julie Delpy, and a sexy Hanna Schygulla in her last role as a seductress (albeit as the older woman of the threesome, about forty years old). Available in NTSC English subtitled video, at least in Canada. Check it out.

Warsaw: Year 5703 (1992)

Not bad psycho-drama surrounding the Warsaw Ghetto Uprising

[10/10 · 16 August 2000]

This European co production recounts the lives of three people who tragically collide in an explosive threesome of oppression, forbidden passion, betrayal and revenge. Though at times hard to watch, the film is ultimately a provocative exploration of the human condition under great duress. Another reason to watch is to see its three now very well known stars, 9 years younger than they are now. This includes a teenage looking Julie Delpy, and a sexy, (speaking excellent French) fortyish Hanna Schygulla, in her last turn as a sexy beauty (albeit the older woman, but still stunning). Rent it. The NTSC Video is unfortunately not listed at Amazon.com (hint, hint, list it..), but I recently bought it in Canada, where the English subtitled version is available through Alliance-Atlantis/MCA Home Video. This is not a commercial plug, just a service to IMDb users like myself, who had heard about this unreleased film in the US and most of South America (though it was in Argentina), and may want to gain access to it. Watch it if you like a good psycho drama, in a historic context, with three of Europe's best actors.

Onegin (1999)

A landmark masterpiece, had it been spoken in Russian.

[9/10 · 15 July 2000]

This film is wonderful and beautiful. I was impressed with the amount of user comments, considering the film has not been very popular, and in the Americas, hardly seen, and bashed by critics. It is an almost perfect film rendition of this classic literary work. I recently saw an acclaimed production of the opera Eugene Onegin by Tchaikovsky, and have read Russian literature. This film is a more complete, and captivating experience than the opera or the original verse novel (in translation). However, the true Russian spirit cannot be captured with the entire cast speaking in Etonian British accents. The film should have been released (even in English speaking countries) completely synchronized in Russian (I prefer to say synchronized since the actors in any film are dubbed, the word is very negative, by themselves anyway). Some of the original verses could have been included. The wonderful score by Magnus Fiennes should have been complemented by Tchaikovsky (and not German Beethoven) music, preferably from the newly-popular Onegin opera. With those (very important) revisions, the film would have been the finest example of Russian literature ever brought to the screen.

Killed the Family and Went to the Movies (1991)

Brazilian Debauchery 101 to 610

[7/10 · 1 July 2000]

If you live in Brazil (or neighboring country) as I do, DON'T be surprised when you see a video cover with body parts of three (two girls and a guy) sexy twentyish hunks juxtaposed on a newspaper front page. Its headline is the movie's title: HE KILLED HIS FAMILY AND WENT TO THE MOVIES. Upon closer inspection, don't be further surprised that the threesome is comprised of the late 80's early 90's Brazilian male model-turned-actor Alexandre Frota (often shown on "all five" on a carpet), his then-girlfriend- the vuluptuous former ballet dancer (with a body to prove it) TV star Claudia Raia, and also sexy twentysh comedienne Louise Cardoso. Well, those would be the familiar elements, if somewhat racy, still within the realm of most people's universes. However, rent the movie and watch what's going on. THIS IS NO SOFT PORN. It's mainstream entertainment with some of Brazil's major stars, directed by one of the country's greatest. It never even caused a stir when it was released........Nevertheless, unless you find Pasolini's Salom old hat, you are in for a surprise. What you see on film surpasses even the wildest fantasies of a "debauched" Chilean or Argentine. This film definitely proves why this segment of Brazilian society is so notorious for "debauchery." Now I always thought debauchery was such a Victorian cliche, and still do, though things like this movie remind me it has a vague meaning. It's unbelievable that Brazil is surrounded by traditional societies where in most cases, divorce and sodomy are still criminalized (and recently reaffirmed in the case of divorce and homosexuality in Chile). Scenes in this Brazilian mainstream production couldn't even be imagined by most of its neighboring countries, forget about judging them. They are truly unheard of. First, the basic sexual and hormonal instinct which triggers everything in this film (and in this perhaps mythical segment of the Brazilian population)is shockingly different. Secondly, the normalcy surrounding the antics of two nude (wearing only very high heels) young girl friends, purportedly heterosexual, is chilling. But their fetishes are so outlandish, labels like heterosexual are useless boundaries. Their antics are a hoot. The movie is made up of five vignettes. It's worth renting, even if you speak no Portuguese, for the visuals of two of the vignettes. It is really unusual. And viewing them is essential to understanding that Brazil, morally and sexually, is a country that does not belong in the Americas. Worth a peek.

Anda, corre, vuela (1996)

Urban terrorism in Lima explored

[9/10 · 10 June 2000]

This timely and still contemporary film, first seen in Miami at the First (1996) Hispanic Film Fest, is still as relevant today as it was four years ago. Urban terrorism continues in Peru, our northern neighbor, and (since) the deplorable socio-economic conditions remain just as bad, if not worse. This film explores this tragic situation, which confronts the vast majority of urban dwellers (the villages are not very safe either). In this movie, young people fight against these problems, trying to find better alternatives for the future. See the movie, read world news, and think about what changes (if any) have taken place, since the 1992 setting depicted in this film.

Freedomfighters (1996)

A grandiose epic about the Spanish Civil War

[9/10 · 4 May 2000]

This film, an impressive epic about the Spanish Civil War, focuses on the roles of women in the conflict. Thus, the title which translates to "Female Libertarians." This is probably the definitive film on the subject, with all its flaws. Some critics may see the film as "overkill" since it features extreme examples of female suffering, as well as extreme characterizations of the female center and left-wing fighters in the war. The characters include bourgeois women, working class girls, anarchists, and even a nun. The cast is a who's who of female actresses of Spanish Cinema in the 90's. But, considering the horrors and excesses of the war itself, whether the film can be excessive at all, is an open question. Very worth-while watching, and a must for those who follow Spanish Cinema or 20th century History.

A Place in the World (1992)

Undoubtedly, one of the best Argentine films ever

[9/10 · 4 May 2000]

I think, and most Latin American critics agree, that A PLACE IN THE WORLD runs neck and neck with the Oscar winning OFFICIAL STORY as Argentina's greatest movie ever. This movie shows the maturity that Argentine cinema began to reach after the mid 80's Oscar winner, mentioned above. The wounds left in Argentina by the events depicted in THE OFFICIAL STORY are still there. They are in fact a central theme of this film, which shows vivid signs of these scars beginning to heal. The film also brings Cecilia Roth back from exile (in real life as well as in the film), and cements her partnership with Federico Luppi as the 90's equivalent of Norma Aleandro and Hector Alterio, who were the couple of the 70's and 80's. In fact, Roth and Luppi and this film's director went on to collaborate on another landmark Argentine film of the 90's (MARTIN HACHE), and Roth and Luppi have continued to appear on the screen together since. This film may be their greatest collaboration, but their acting is not the only reason to see this film. Life in the interior of Argentina's provinces was never so well portrayed and explored. And challenges that Argentina and indeed, all Latin American countries face are well addressed. A must see.

Golpe de estadio (1998)

Colombia, its problems all together in this funny salad

[9/10 · 2 May 2000]

The title of this film is a play on words. By adding an "i" to the expression coup d'etat (government throw over)in a few Latin languages, "coup d'etat" becomes "coup de stade" or stadium throw over. Unfortunately, the impact of its title, the first of the many "coups" this film throws, is lost in English. Nevertheless, this award-winning European-Colombian co-production, and the most successful Colombian film ever, is full of other satire that is easy to understand: intelligent, and hilarious. Soccer (football), as usual the common denominator of people worldwide except in the US, serves as the pretense to dish out most of the most notorious social problems in the country. Exploitation by multi nationals, these companies complicity with the guerrillas and thus with the drug lords, the innocence of the common people who are most affected by these forces beyond their control, corruption, prostitution, poverty, and the like, are actually made quite funny. Much needed by the country's population as comic relief, this movie is a scathing political and social satire of all the parties involved in the nation's seemingly unsurmountable problems. A great cast play out a dynamite script in the hinterlands of the country where all the different forces interact. What brings them "together" is their passion for soccer, and in this film, finding a way to see the 1994 qualifying match between the Colombian national team and Argentina rises above all differences, to become the top priority. A riot!

Capitães da Areia (1989– )

Poignant story of street (or rather, beach) kids in Bahia

[8/10 · 18 April 2000]

This mini-series based on the writings of Brazil's most acclaimed writer Jorge Amado (DONA FLOR, TIETA DO AGRESTE) realistically depicts the plight of Bahia's "street" kids. Amado, Bahia's favorite literary son, usually writes about social situations seen during his long life in his home state, and its capital Salvador. This is no exception. The title refers to the captains of the sands, the poverty stricken kids who struggle to survive around Salvador da Bahia's beaches and fishing ports. The series is a faithful cinematic depiction of these kids' sad lives, as first described by Jorge Amado. if you liked PIXOTE or other dramas dealing with Latin American poor urban kids, check this series out.

El palomo cojo (1995)

Impressive, star-studded Spanish period drama

[9/10 · 18 April 2000]

This 1995 drama, based on the best-selling Spanish novel of the same name is quite impressive at many levels. It is a moving family drama reflecting the realities of Spanish society in the early 50's. It is rich in period detail from art direction to dialogues, colorful characters, make-up, and all-around look and feeling. The ensemble cast is stunning featuring legendary Spanish actor, Francisco Ribal (grandfather of the now famous Liberto - star of Almodovar's LIVE FLESH/Carne Tremula), and four of the country's best actresses in film today: Carmen Maura, Maria Barranco, Ana Torrent and Maria Galiana. It is a coming of age story in juxtaposition with a passing of age story , namely that of the Rabal character (an aging, alienated family patriarch who compares himself with his pet "limp dove," hence the title). This bird who can no longer fly, nevertheless tries to influence the future of his great nephew, who is about to begin taking flight. This great uncle must exert his influence, under difficult family pressures, coming from a variety of eccentric characters, not the least of whom is the family's long-time housekeeper. The movie is one of the best Spanish dramas of the mid 90's.

Johnny One Hundred Pesos (1993)

Realistic depiction of poorer Chilean youth in the 90's

[9/10 · 18 April 2000]

This film presents realistic details of the problems, temptations and other dilemmas faced by the lower middle class and poor youth in urban Santiago (Chile). Though not too different from the plight of poorer urban teenagers worldwide, this drama is nevertheless worthwhile for those particularly interested in Chile. It also features good action scenes, and strong acting.