#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Argentina, 1976. Claudio Morán is a successful and respected lawyer of an Argentinian town that suffers an incident with another client in the restaurant where he awaits for his wife Susana to dinner, who reclaims his table to seat and eat. Mocking him about the stranger’s bad manners and poor education, Claudio’s words make that the stranger suddenly explodes in rage against everybody, being forced by the staff to leave the local just when Susana arrives. When they two are in the car to back home, the stranger appears again hitting the car and running away. Leaving the car behind the stranger to stop him, this one intercepts Claudio and both have a fight. Trying to calm him, Claudio see as the stranger hits himself and takes a gun pointing Claudio and Susana, who followed his husband, but instead to kill them the stranger shoots himself in the face. Seriously injured, Claudio takes the stranger into the car and leaves Susana in home saying her that he will moves the stranger to the hospital, but Claudio leaves him in the desert to die. Three months later, Claudio’s life remains equal with Susana and their teenage daughter Paula, receiving the visit of Susana’s best friend Mabel, her husband Vivas and their child. In the days previous to the General Videla coup d’etat that will change the country forever, with the military intervention above the horizon, violence unleashed by everywhere and people that miss every day, things complicate for Claudio when Mabel suffers a nervous breakdown during an expo art. Worried by her, Vivas reports Claudio about Mabel’s stranded younger brother Dieguito, who years ago joined revolutionary movements to fight against repression of the government, missed three months ago while he traveled to meet Mabel. Realizing that the stranger was Mabel’s brother, Claudio starts to feel cornered when Vivas tells him that he and Mabel have call famous Chilean detective Sinclair to find Dieguito if he’s alive…or to his assassin if he’s dead.
Plot: A small town in an Argentinian province, 1975. The life of Claudio, a successful lawyer, gets complicated when he has a stupid quarrel with a stranger in a crowded restaurant.
Smart Tags: #1970s #lawyer #color_in_title #one_word_title #restaurant #throwing_a_stone_at_a_car #gun #suicide_attempt #attempted_suicide #cake #fly #cigarette_smoking #house #blood #playing_tennis #changing_room #disappearance #detective #private_detective #beach #desert
|6.4/10 Votes: 2,270|
|6.2 Votes: 37 Popularity: 4.707|
Drying hard in the desert
This is not an easy movie to describe. And I think some historians have even more to say about the time this is playing (adding to the flavor of the country and the political backdrop). So there is a lot of baggage from the start, which some may be more aware than others. But even if you begin from zero, you can take a lot from this movie.
To do that, you have to be aware that the movie itself is not meant to excite you every other minute. Some may call it mundane, slow and even boring. Now that is valid depending on what your taste is like. So try not to judge someone who has the complete opposite opinion on this (or any other movie for that matter) than you. Overall I do think that the way this is shot and how it is played (excellent) made me go for the rating I chose. Again, it will not tickle everyone … but those that will be intrigued by the characters and maybe the period and place it is playing, with everything that was going on back then … they’ll have fun – or the equivalent of it.
A frightening look at the societal reaction to dictatorship
There’s a reason why in a layered structure of any kind, the mid-section is the weightiest. Be it the myocardium of the human heart, the mantle inside the earth’s surface, or the middle class in societies, this thick layer forms the core of functions, paying its debt in the overall scheme of functioning. Minus the middle layer, any structure faces imminent collapse because it’s a designed assumption that this stratum will go on regardless of what upheaval the top and bottom parts face or cause. In societies, the middle class goes to work, is law-abiding, pays taxes that oil the troposphere and powerful, and enable subsidization and relief for the lower rungs. What runs this routine-driven societal waist is what comes from the top in terms of belief, thought-freedom, and individual liberty. That’s the symbiotic structure on paper, at least. But what happens when the top layer is chopped off and surgically replaced with a dictatorship that feeds vials of vitiating fluids that serve to control, divide, and enforce compliance?
Writer-director Benjamín Naishtat, in his 2018 outing, faces this troubling scenario with Rojo (Red) against the backdrop of pre-coup days in Argentina-when the army junta took over the President and dissidents began disappearing mysteriously, but not surprisingly-when the middle class, sensing the seismic shifts above them, sets into motion what it does best: self-preservation and hoarding for the long haul. In a quiet, foot-steps-powered extended opening sequence opening (the sound by Fernando Ribero stands out, no pun intended), the camera’s facing the façade of a home. The front door opens and closes with all manner of folks trooping out. You’d think it’s a regular day at the household. It’s only later that you realize that the rot’s already set in, and those people aren’t going through their existential drill. It’s the hovering cloud of a regime that dictates this regimen. That quiet scene cuts into the clatter of cutlery at a restaurant where you meet the face of the middle class: small-town lawyer Claudio (a superb, troubled, profoundly stirring performance by Dario Grandinetti) who’s waiting for his wife Susana (Andrea Frigerio in a dazzlingly understated act of middle-class haughtiness and entitlement). Before the lady arrives, the lawyer has a run-in with an aggressive, menacing man (Diego Cremonesi) who seems to begrudge the middle class their fortunes. As things spiral out of control and with a shocking splatter of face-offs, Claudio is torn between doing the right thing and not getting involved.
It’s here that the desert plays a role in making people disappear. It’s also here that the movie title zooms in, red and angry, festering and bloody, hapless and helpless. Director Naishtat creates a portrait of allegorical beauty all through Rojo via situational stand-ups referring to disappearances, Claudio’s own role in adding to the Missing list, and his folding into a fraudulent scheme with family acquaintance Vivas (Claudio Martínez Bel). There’s a reference to societal stressors taking their toll on families and individuals’ mental health in a scene where Vivas’ wife, Mabel (Mara Bestelli), has a meltdown. Plus, there’s Claudio and Susana’s daughter Paula (Laura Grandinetti), whose dance teacher at school, prepping her class for a grand performance, instructs her students to feel and convey intentions. She may well have been urging us, a medium for her director’s metaphorical intent throughout the movie. All raging hormones, Paula’s boyfriend, Santiago (Rafael Federman), epitomizes the patriarchal entitlement that invidiously seeps into every generation. Santiago plays his part in a savage disappearing act as well, and Naishtat’s stunning commentary hits hard: how a purging force that’s spewed from the top begins to find validation and enforcement in the middle class. WhatsApp forwards, anyone? Redemption for Claudio arrives in the form of Detective Sinclair (Alfredo Castro in a superbly funny and satirical turn). Still, it’s clear that the law-enforcer is battling devils of his own, possibly of what he’s already seen in Buenos Aires, and how the poison’s spreading its inevitable compounds across the country.
Naishtat also uses a brilliantly shot eclipse scene to capture a society in transit towards destruction. Employing bloody-red filters to create engulfing menace, he captures the fear and helplessness in the face of an overpowering force, life coming to stand still as everyone stares at the bloodied sun with special goggles: to survive such a consuming force, you need to have filters-and blinkers-on. The cinematography by Pedro Sotero is stunning, a mix of still violence and beauty, all 70s in its look and yet disturbingly contemporary and relevant in its execution, much like the script. Adding to the chilling atmosphere is composer Vincent van Warmerdam’s ominous score, a worrisome thrum that courses its way through the movie’s runtime.
And it is Claudio who is the middle class. Who is us. Ensconced in the security of a blanketed living, rattled by the presence of Sinclair who threatens that existence, unnerved not by the impending coup that’ll shake the nation but by the fear of the rattling of the innards of his life, he does what we all do instinctively as society’s mantle and as human beings. Cover up the baldness of our morals by the façade and charade of artificial sanctimony.
Original Language es
Runtime 1 hr 49 min (109 min)
Genre Drama, Mystery, Thriller
Director Benjamín Naishtat
Writer Benjamín Naishtat
Actors Darío Grandinetti, Andrea Frigerio, Alfredo Castro
Country Argentina, Brazil, France, Netherlands, Germany, Belgium, Switzerland
Awards 15 wins & 27 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A