Film Freak Central

Burnt Money (2000)

Plata quemada
**½/****
starring Eduardo Noriega, Leonardo Sbaraglia, Pablo Echarri, Leticia Brédice
screenplay by Marcelo Figueras, Marcelo Piñeyro, based on the novel Plata Quemada by Ricardo Piglia
directed by Marcelo Piñeyro

 

by Walter Chaw Pushing the submerged homoeroticism of Strangers on a Train to the surface, Burnt Money's homage begins with Jean-Pierre Melville's genre cool and Hitchcock's cigarettes and lighters at a carnival and ends with a certain Wellesian noir seediness (complete with The Lady From Shanghai's ill-fated passion, Touch of Evil's corrupt officials, and even Citizen Kane's totemic paperweight). Burnt Money is deliriously beautiful to look at--all pale greens and mute browns--but its overt politicism in the closing moments begins to dispel the film's magic in favour of over-heated parable. It's an expert genre piece that tries to bear the brunt of all of Argentina's national cynicism and economic corruption (a leaden socio-political platform reflected by its title), and despite his cineaste smarts, director Marcelo Piñeyro just isn't up to the task.

The Silent House (2011) + Rubber (2011)

La casa muda
***½/****
starring Florencia Colucci, Abel Tripaldi, Gustavo Alonso, María Salazar
screenplay by Oscar Estévez
directed by Gustavo Hernández

RUBBER
½*/****
starring Stephen Spinella, Roxanne Mesquida, Jack Plotnick, Wings Hauser
written and directed by Quentin Dupieux

by Walter Chaw Billed as being filmed in a single shot (though the skeptical--and those taken in by the "unedited" long takes of Alfonso Cuarón's Children of Men--should wonder why an editor is credited), Gustavo Hernández's zero-budget conceptual experiment The Silent House (La casa mudi) has found a way not only to suggest a gimmick successfully carried through, but also to weave that gimmick into a richer thematic tapestry. Here, the digital camera isn't carried by a protagonist, Blair Witch-like, but instead floats around the victim of the movie's horrors, one Laura (Florencia Colucci), who's endeavouring with father Wilson (Gustavo Alonso) to clean up an old abandoned house in preparation of its sale. The camera does take on the point-of-view of someone at some point, then jumps back to an objective place, then plays that trick Evil Dead II plays with perspective in the scene where Ash wakes up in a clearing and looks around in a panning 360-degree take, only for the audience to discover that the camera eye is both character and commentator, more physical in its way than a first-person point-of-view could ever be. In a genre dependent on cutting for its scares, in fact, The Silent House's accomplishments are all the more impressive. It's suffocating (I'd never considered how liberating edits were from a complete immersion into a film) and at times unbearably tense--and though some will point to the airlessness of Hitch's Rope or the fluid choreography of Alexander Sokurov's Russian Ark, The Silent House is a different beast altogether.