Uruguay, a country admirers rarely apprehend from, took home the Un Assertive Regard cost for boldness at Cannes in 2003 for the ball “Whisky.” The country is in the active this year to win the even added coveted Camera d’Or for best aboriginal blur with Alvaro Brechner’s affable admitting abnormally abandoned neo-Western “Mal dia para pescar” (”Bad Day to Go Fishing”), allotment of the Critics Week selection.
Putting an abnormal circuit on the affair of crumbling outsiders traveling for one endure coup, the blur is watchable and calmly fabricated but lacks the tonal aplomb and faculty of purpose it needs to leave a abiding impression. Overseas boxoffice abeyant seems limited, admitting the aberration of a Uruguyan blur ability annoyance cinephile interest. “Pescar” could be a believable access in festivals geared adjoin Latin American cinema or variations on the Western.
The cine tells the adventure of Orsini (Spanish-Scottish amateur Gary Piquer), an “impresario” who arrives in a baby boondocks with his protege, a ancient German angry best called Jacob van Oppen (the Finnish Jouko Ahola, champ of the World’s Strongest Man in 1997 and 1999). Orsini’s arrangement is to allurement assemblage to a bound at which any amateur who succeeds in demography down van Oppen in three account will net $1,000. It’s a advocate Western bureaucracy (minus the accoutrements and horses), with two rootless, over-the-hill heroes ambling into a new boondocks for one final, emblematically adult task.
The pair’s plan is threatened if a bounded woman (Antonella Costa) offers up her able-bodied bedmate to face off adjoin van Oppen, who is nursing abscessed muscles, a awful ahem and an even nastier booze habit. There’s aswell the arid absoluteness that Orsini and van Oppen are collapsed broke.
The blur is agilely paced, accurately lensed and engagingly arbitrary in parts. Brechner has fun assuming the two newcomers acceptable a allotment of the alone fabric: Orsini flirts and knocks aback drinks in the adjacency saloon, and van Oppen weight-trains at a association theater, appropriation abundant altar in foreground of analytical crowds.
But there’s something vaguely inconsequential and apparent about “Pescar,” as characteristic as it seems. The blur plays on prototypal Western capacity — antiheroes, redemption, honor, alcoholism, legends adverse their bloodshed — and reprocesses them into an evidently abnormal adventure but comes up with few new things to say about them or atypical means to anticipate them.
Even added ambiguous is the film’s tone, which fluctuates hazily from argot in audacity to aboveboard afore catastrophe up in bland, ambiguous territory. The actual would accept benefited from a added absolute analysis — if Brechner, who co-adapted the cine from Juan Carlos Onetti’s abbreviate story, had gone either actual banana or actual dark, for example. As it is, “Pescar” is able abundant and simple to watch but never manages to agitate a assertive air of futility, a acrimonious “So what?” quality. Download online Movies
Performances are fine, and Western-style music adds to the activity that the cine is appetite to reinterpret a brand — with somewhat unsatisfying results.
Production: Baobab Films, Expresso Films, Telespan 2000
Cast: Gary Piquer, Jouko Ahola, Antonella Costa, Cesar Troncoso, Bruno Aldecosea
Director: Alvaro Brechner
Screenwriter: Alvaro Brechner, Gary Piquer, Juan Carlos Onetti
Producer: Alvaro Brechner, Tomas Cimadevilla, Virginia Hinze
Executive producer: Adolfo Blanco
Director of photography: Alvaro Gutierrez
Production designer: Gustavo Ramirez
Music: Mikel Salas
Editor: Teresa Font
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