Review Film

Comments: Latin American private cinema: reviews of “Cambio Cambio”, “El Otro Hugo” and “El Gran Movimento”

Graduate of Dell Cinemas University, magazine critic and editor Validity, and the manager I love you so much and I don’t know (2018), García Candela premiered in the international competition of the Mar del Plata Festival 2022 and is an intense, stark and fascinating chronicle of the Argentine crisis (eternal).

Change change (Argentina/2022). Written and directed by: Lautaro Garcia Candela. Cast: Ignacio Quesada, Camila Peralta, Valeria Santa, Museo Mancini and Dario Levy. Cinematographer: Joaquín Nera. Edited by: Ramiro Sunzini, Lautaro Garcia Candela. Art direction: Santino Mondini. Audio: Javier Jensen. Composer: Dante De Luca. Producers: Juan Segundo Alamos, Ivan Moskowic, Magdalena Chavelzón, Pablo Pedras and Gonzalo García Pelayo (Gong Cinema, 36 Cabalos). Distributor: Santa Cinema. Suitable for ages 13 and up. Running time: 90 minutes. Cinemas: Arte Cacudelvia Malba Cinema (Friday 8pm), Paradiso de Cinema la Plata, Norte Gallery, Cinépolis Avellaneda, CMP Adrogué, Leonardo Favio (Córdoba), Cinépolis Mendoza, Espacio Incaa de La Banda (Santiago del Estero) and Espacio INCAA de Villa Regina (Rio Negro).

A short time ago Change change It was also premiered at the Mar del Plata International Competition 2022 Uruguay, a twisted love story set against the backdrop of the Argentines’ maneuvers to bring dollars from Uruguay. Now, a more classic love story has been presented in the same section, but a story that has an obsession with dollars (and many illegal works it generates) in the center of the scene.

Change change It is a film written by (and about) young people, in (and about) the small center of Buenos Aires, about (and starting from) the endemic economic crisis affecting Argentina. It’s a movie that harmonizes and dialogues with it. Sweet Silverwith Pizza, beer and vasowith Nine queenswith Mauro, with that national cinema that was imbued with the spirits of its time, with its frustrations, traps, contradictions, fears, deceptions and survival strategies (for the fittest).

Pablo (Ignacio Quesada) distributes flyers and performs various tasks in a restaurant located in Florida’s Pedestrian Quarter. We’re in the middle of a pandemic and foreign tourists are scarce, but “little trees” still thrive on buying and selling that blue dollar that never stops rising. Our beloved hero (twenty-year-old from Olavaria who has been in CABA for only two years) falls in love with (and falls in love) Florencia (Camilla Peralta), an architecture student a little older than him and dreams of winning a scholarship to travel to France. Soon they will live together in the small apartment that Pablo rents in the heart of the downtown area and will also, thanks to the help of his girlfriend Daniela (Valeria Santa), start working on buying and selling dollars.

The protagonist, at first, is completely innocent in his behavior (even his friends throw him as a keyboard player for a punk band called Prisoners of the Night, in honor of David José Cohun?), But as the plot progresses, he will absorb the dynamics of the work and plan some maneuvers that will allow him to leave his place as an authorized employee of the service of Daniel “Heavy” (Dario Levy) to partner with Florencia, Daniela and Ricky (Museo Mancini), the owner of a company selling leather goods.

The film oscillates between a romantic subplot that initially occupies most of the story and a financial thriller that then gains space and ends up almost monopolizing the viewer’s time and attention. Change change It has its own forgivable conventions and filth (such as some continuity problems in the protagonist’s bearded appearance), but its advantages and results are much greater and more fascinating: the way García Candela “takes” the center of Buenos Aires, especially Florida Street, with his most pathetic bars, galleries and buildings that do not face the street, they talk about a filmmaker capable of (rebuilding) a strange world (the world of money that occurs outside the official circle and this very Argentine dream of making money easily through take advantage of system loopholes) to turn it into a world of its own. Moreover, it did so in the midst of a pandemic that further complicated the independent portrayal of these ambitions. Not a small feature of cinemafrom an enormous future. Diego Patel

The other son (Colombia-Argentina-France/2023). Directed and written by: Juan Sebastián Quebrada. Cast: Miguel González, Ilona Almança, Jenny Nava, Simon Trujillo, Gabriel Taboada and John Hurtado. Editor: Julie Duclos and Pascal Hannoir. Audio: Guido Deniro, Guido Bayrembloem, Martin Litmanovic and José Valenzuela. Original music: Carlos Quebrada. Distributor: Centren. Suitable for ages 16 and up. Running time: 89 minutes. Venues: Cinema of Gomont, Espassio Inca Centro Municipal Cultural de Tabalque and Espacio INCAA Centro Municipal Cultural M. Belgrano de Rafaela.

It is often said — and rightly so — that no single word can identify a mother who is losing her child. But what about the victim’s brother? What if this brother is also involved in a tense family dynamic? What term applies to this blank, to this infinite number ofFor questions without any hint of answer?

Colombian director Juan Sebastián Quebrada, who studied at FUC, rehearses some possible responses in his work. The other son, a nickname that hints at Federico, who is in his final year of high school and has what seems to be a very good future ahead of him. Until one night, at a party in a friend’s apartment, he hears screams coming from a balcony looking at it only to discover that the corpse on the ground surrounded by a pool of blood is that of Simon, his older brother.

It can be a murder, but due to the physical characteristics of the place it seems difficult. All that remains is a more than likely suicide grief that destroys the weak family structure, a situation that Quibrada records at the right distance to demolish scenes without falling into low blows or gloating about the misfortunes of others.

Unlike much Latin American cinema with international circulation through festivals –The other son He passed through San Sebastian, Biarritz and Mar del Plata, among others – there are no ethnographic searches or magical realism here. After all, there is a strict approach to dealing with the details of an upper-middle-class family that is slowly but surely collapsing, and whose members can evoke mixed emotions: pity, yes; pity, yes; pity; poor, yes; and poor. But also dissonance.

With his mother’s grief, his father burdened with guilt, and his brother’s ex-girlfriend approaching him in a way that neither of them can (or know how) handles, Federico (Miguel González) tries to rebuild his life, and with it himself. Her character is sealed and the routine is overwhelmed with silence, as if the director understood that the ways of passing through grief are as endless as the nuances of those who suffer from them. Ezequiel Boitti



After some valuable short films and the award-winning first feature film with Old Skull (2016), the Bolivian conductor trained at FUC exhibited this urban symphony about La Paz and the unknown beings that pass through it at the 2021 Venice Film Festival, which now comes to Sala Logons.

The Great Movement (Bolivia – France – Qatar – Switzerland / 2021). Written and directed by: Kiro Russo. Cast: Julio César Ticona, Max Eduardo Bautista Oshasara, Francisca Arce de Aaro, Israel Hurtado and Gustavo Milan Ticona. Photography: Pablo Paniagua. Editing: Quiro Russo, Pablo Paniagua and Felipe Gálvez. Music: Miguel Lanque, midnight driver and Anton Vlasov. Running time: 85 minutes. At Sala Lugones (Av. Corrientes 1530), Thursday 16, Friday 17 and Tuesday 21, 9 p.m.; Wednesday 22, 6 p.m.; Thursday 23 and Friday 24 at 4 p.m.

It all starts with a magnificent panoramic view of La Paz with its facilities made of pure cement, stone and brick, without even a green spot on the horizon. Zoom allows us to select a neighborhood, then a building under construction and followed by a pan through the windows of the different apartments. Traffic, noise, broken stickers, cable car leading to El Alto … That beginning, which goes from the year to the details, is presented as a distorted documentary, a distorted symphony. Suddenly, we came across a protest of miners from the city of Huanouni demanding better working conditions, among them we see Sheikh Mamani (Julio César Tikona), one of the characters in Old Skull.

The Sheikh will be one of the heroes of The Great Movement Together with a homeless man named Max (Max Eduardo Bautista Ochasara) and then we will meet other characters such as Gallo (Israel Hurtado), Gatto (Gustavo Milan Ticona) and Mama Bancha the Charming (Francisca Arce de Aro). Because the film will be able to have a documentary imprint when it comes to exploring the contrasts, architecture and socio-economic changes of this particular city that stands 3600 meters high, but also has characters walking in it.

Elder goes to the doctor for tests, and the characters – typical anti-heroes, lovable and blackmailed at the same time – haggle over prices, dance with each other in a discotheque, get risky jobs carrying things in one of the many crowded markets, drink and drink, sleep where they can…

When the film seems stuck in its drift and realism, it suddenly begins to take on a remarkable dimension. The elder is getting sick. Epic storm. Musical number delirium. Kiro Russo immerses us in an environment that is no longer recognizable for us with a very special, almost vintage look, achieved with the Super 16mm camera in the months leading up to the pandemic. A pervasive and endearing image of the characters and a city that seems lost in time and within Western geography. Rousseau’s films continue to take us through unique and fascinating worlds. Diego Patel


Subscriptions are the best way for readers to directly support and help maintain freelance journalism projects A quality product that keeps access to all your content for free. In addition, you get access to a wide range of benefits and exclusive content.


You may also like...