first_imgNot having seen Thelma and Louise, I can’t honestly comment about the similarities between it and this apparently Argentinean version. Two lesbians dressed as ten year-old boys, one of whom complicatedly argues she is not a lesbian despite wanting to shag her ‘love at first sight’ from the moment she saw her, proceed in kidnapping the female ‘soul mate’. Marcia, played by Tatiana Saphi. Marcia is potentially the most ‘normal’ person in the world, lives at home, alone, eats pancakes all day and eats, thinks, dreams in food. There is obviously a point in calling the two lesbians, Lenin (Veronica Hassan) and Mao (Carla Crespo). However, I just don’t see that point, unless it is in the communal attempt of sharing Marcia’s body. A road trip ensues leading them all to Lenin’s Aunt’s (Beatriz Thibaudin) home. Lenin has not spoken to her mother since an argument several years back. She also knows that her Aunt and Grandma did not speak for years before her Grandma died. There is a point to the parallel tempestuous relationship between the two different generations of the same family, but again I don’t know what it is. Marcia and Mao get their lesbian embrace, spied upon by Felipe (Marcos Ferrante), a lodger at Blanca’s home. Then an unspoken coldness rises between Mao and Marcia, leading Marcia to seek solace in Delia (María Merlino), another lodger; revealing that she had been mislead by a man she hoped to marry. Again, touching, but I don’t get it. I don’t think I would be giving the crux of the film away if I chose to tell you the end, as the feature to this feature presentation is in the silence and the images. Shot in black and white, Diego Lerman mixes an unsentimental script, of which the majority is silence, with the captivating looks and expressions of his talented cast. The angst-ridden Lenin, perhaps, has the lead role, in that her character changes through nothing more than softened glances and losing her flick knife. This film looks like a series of film posters; every shot is artistic and inspiring, and, combined with the silence, the film penetrates deeply even though it is unclear how. I was deeply stirred by this film. Not through the average bittersweet content, but by the artistic nature of it. Despite not seeing the point of most of it, it is worth seeing purely for its aesthetic value. No moment was wasted, and I was captivated to the last. A truly perplexing film, it must be seen, pondered over, and seen again.ARCHIVE: 1st week TT 2004last_img

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