* Year: 2009
* Script: Eduardo Sacheri
* Country: Spain
* Sort: Drama
* Age: Majors of 7 years
Synopsis
Espósito youngest child has worked all the life like employee in a Penal Court. Now it finishes retiring, and to occupy his free hours it decides to write a novel.
One does not set out to imagine a history invented. It does not need it. It arranges, in his own past one like judicial civil servant, of a stirring and tragic real history, of which she has been privileged witness. Year 1974 runs, and to its Court the investigation is entrusted to him on the violation and the murder of a beautiful and young woman. Espósito attends the scene of the crime, is witness of the insult and the violence undergone by that girl. It knows Ricardo Morals, that have married with her just a short time before it adores and it with all their soul. Felt sorry in its pain, Espósito will try to help it to find the culprit, although for it must row against the clumsy inertia of the Courts and the Police. Account with the inestimable collaboration of Sandoval, one of its employees and simultaneously its personal friend, that escapes sometimes to the routine limits of its existence emborrachando itself, until losing brings back to consciousness. Account also with Irene, its immediate female leader, the secretary of the Court, of which one feels deep, secret and uselessly enamored. The search of the culprit will be any less simple thing. They have not been signs in the place of the crime, and Espósito will have to advance through hunches and conjectures. In addition, the Argentina of 1974 is not a Pacific scene. The violence, hatred, the revenge and the death find a land propitious to dominate the lives and the destinies of the people. In that hostile frame, more and more and more dark, the task of Espósito will finish mixing itself until the bottom with that monstrous and increasing violence. No longer she will be a privileged witness, but an involuntary protagonist more and more near the danger. But not only the one is that Espósito young person of 1974 that is dragged by the storm of the facts. Also that other Espósito, the one of the present, that old man with writer pretensions, will be sunk in a storm will put that it to the drift. Because Espósito has started up the atrocious machine of the memory, it has accepted to ventilate and to revivir all memories. And those memories are not innocent, are not neutral, are not aseptic. Espósito writes, and when writing revive, and in the past that rises before its eyes all ghosts yerguen also: its decisions, their confusions, their irreparable mistakes. As it advances, Espósito will understand that already it is behind schedule for pausing. To narrate the past will stop being a simple pastime to fill the died hours of its days. It will be the close and winding way that will have to cross to understand and to justify its own life, to give felt the years that it has left to live, to face that woman once and for all of whom, thirty years later, it follows enamored.
The Argentine film director Juan Jose Campanella pleaded today for a greater integration between the producers of cinema of the Latin American countries, for which it is necessary that the towns learn more on the different cultures from the region.
Nevertheless, the director attributed that responsibility not to the cinema but to the educative systems, that could give more attention to the Latin American common inheritance. “Instead of to as much learn the history of the Phoenicians and the Persians in the school, we could study more on the countries of Latin America and, since then, to begin to want more just a little bit what it surrounds to us”, said Campanella in an interview with Efe, within the framework of the Festival the International of Cinema of Rio de Janeiro.
Campanella visits Brazil for the first time, and with him it brings its last film, “the secret of its eyes”, cradle in the novel of Eduardo Sacheri, everything a “thriller” on the re-opening of a judicial case that, after 25 years of investigation, it has still not been solved. In spite of the suspense of police history, Campanella stays faithful to its style and sensitivity whereupon it treats the daily life, “with credible personages, of very common lives”, and with the great history of love.
In the tape, Campanella works by fourth time with Ricardo Darín, according to him, “an actor who handles very well happens of the drama to the comedy” and that gives to life to the protagonist Youngest child, that decides to reopen the judicial case with the hope to close histories of its past. “It is very strong what it is spoken on the memory, on watching backwards in the one life. I like that the motivation of the personage to revivir all that history is to ask themselves why it is only, and not to find a culprit”, explained.
The past it is shaped in the films of this director. And it is that in “the son of the fianc2ee”, “The same love, the same rain” and “Moon of Avellaneda”, the personages are prisoners of their memories and try to free themselves of them. The 50 years, Campanella continues making cinema with the illusion from that takes advantage of the great screen to arrive at people who do not know. “The cinema is communication. I make it so that it sees people it, to tell a history”, says them. “When one relates the film and so it happens to him and even if it gets to have a change in his life to see a film mine, then that is the best thing than it can happen”, declares.
The film director, a reference in the Latin American cinema, sees the prizes of practical way: a tool to help to disclose the films and to make see itself them in places that of another way would not put attention to them. The Oscar, that yes, are “the prize”, says the director, with the hope of that he sees his last delivery, “the secret of their eyes”, being chosen by Argentina to compete by this “impenetrable” award. While the expectation lives, Campanella is divided between the direction of episodes of series of television like “Law & Order” or “House”, and the cinema, that contribute more to him “to personal and internal level”.
