Saturday, December 4, 2010

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2010 Torino Film Festival - Anahi Berneri, Por Tu Culpa, 2010



Il film apre su una scena domestica in una casa borghese argentina. È sera, e una donna presa tra una scadenza professionale e due bambini fa il giocoliere mentre al telefono marito (ex? quasi ex? non si capisce bene) e madre la rimproverano per non avere ancora messo a letto i bambini alle 10 di sera. I due ragazzini, che giocano con la madre, guardano la tv, ricevono coccole e carezze e qualche debole tentativo di autorità, si accapigliano a ogni pretesto, fino a che non accade un piccolo incidente. Che nemmeno si capisce bene cosa sia. Ma tant'è.

Per scrupolo la madre infila i bambini in macchina e li porta in una superclinica privata, giusto per stare tranquilla. Lì, dopo poco, un pediatra accoglie la madre e i due figli in una sala visite dove li esamina e fa scattare una denuncia per presunti maltrattamenti. Nel corso della notte arriveranno in clinica la madre della protagonista e quindi il marito/non-marito, che non risparmiandole rimproveri la accompagnerà tuttavia in commissariato e la officially defend. Closes the film a homecoming of the whole family that finally puts to bed As the daylight makes its way and the city comes to life.

The great merit of this film is to outline roles and stereotypes with extreme subtlety, in the thin boundary that separates the distraction from responsibility and professionalism from discrimination, support for moral clarity from the attribution of guilt and confusion.

can not escape, however, an ironic trait evident in the allocation of that cliché as always hiding some truth. Pediatrician intention to complete its modules, while her mother (who happens to be a thin woman physically and often "overwhelmed" by the children) you can arrabatta like to be able to strip away the baby with one hand while with the other hand it is holding, a pediatrician who then, when the hinge of the superhero costume that your child is wearing it blocks, instead groped to unlock grabs the scissors and cut once. The husband, a figure at the same time authoritative and judgmental which is easy to point out the weaknesses of his wife, which, however, given the default family responsibilities. In short, the subtle boundaries that could affect generations of women.

The sense of anxiety that pervades you as they understand how little the fate of this woman is in her hands is powerful, and is basically also the great strength of this film.

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