Justice, Argentina, 1985 suggests, isn’t a destination but a constant process.
Everybody Knows rests a bit awkwardly between an emotionally complex melodrama and a shallow genre film.
These vignettes concern the methods of calculated mass dehumanization that are (barely) hidden beneath the practices of social institutions.
Campanella gives voice to the idea that under the junta and under the dictator, every act must become political.
In spite of a commendably nasty noir mentality a la The Postman Always Rings Twice, Carancho is flat-out underwhelming.
The Double Hour seems determined to vacuum every last empathetic crumb from its cheap surprises.
Juan José Campanella’s The Secret in Their Eyes plays like a Law & Order episode.
XXY addresses the multifaceted needs inherent to father-child relations.
Cold, shallow existentialism. Save your money for the upcoming DVD release of Army of Shadows.
Fabián Bielinsky is a filmmaker for whom concerns for aesthetic panache trump acute thematic inquisition.
The film’s beautiful, simple finale suggests second weddings will open doors to second lives.
This ready-made house of cards owes entirely too much to the likes of Hitchcock, Mamet, and noir magpie Tarantino.