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%Start A brutal military dictatorship goes on trial in Oscar contender ' Argentina 1985' $Alchemy_Keywords HEAD TOPICS
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And in “Kóblik” (2016) he starred as a former Navy pilot who becomes a marked man after disobeying an order to take part in so-called “death flights,” in which purported enemies of the junta were stripped, drugged and thrown out of airplanes and helicopters. Read more:
Los Angeles Times » Argentina, 1985 Is a Procedural Powerhouse Argentina, 1985 Is a Procedural Powerhouse Rape accuser testifies against ‘Crash’ filmmaker Tom Brady Apologizes for Comparing NFL Workload to Military Deployment
Los Angeles Times » Argentina, 1985 Is a Procedural Powerhouse Argentina, 1985 Is a Procedural Powerhouse Rape accuser testifies against ‘Crash’ filmmaker Tom Brady Apologizes for Comparing NFL Workload to Military Deployment
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Read more >> Argentina, 1985 Is a Procedural PowerhouseArgentina1985 makes the most ambitious trial against fascist human rights violations in Latin American history into a gripping procedural. nataliakeogan's review of Argentina's Oscar submission:
Argentina, 1985 Is a Procedural PowerhouseArgentina1985 makes the most ambitious trial against fascist human rights violations in Latin American history into a gripping procedural.
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nataliakeogan's review of Argentina's Oscar submission:
Rape accuser testifies against ‘Crash’ filmmakerThe 36-year-old woman testified Thursday in the civil trial in her lawsuit against the 69-year-old Oscar winner, who also was the screenwriter for 'Million Dollar Baby.'
Tom Brady Apologizes for Comparing NFL Workload to Military DeploymentTom Brady has been taking “L’s” on and off the field as of late. His most recent misstep has him apologizing for comparing the NFL’s in-season workload to military deployment. Haters.
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I sure hope something, someday starts going his way. I knew these athletes think they have an important job.
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We can live without professional sports on TV, but America wouldn’t exist without our military. Copied! Print This isn’t the first time that actor Ricardo Darín has helped shine a light into one of the dingiest rooms in Argentina’s history: the military dictatorship that staged a right-wing coup d’etat and ruled his country between 1976 and 1983, during which as many as 30,000 people may have been murdered and disappeared.The horrendous historical reckoning inherent to Santiago Mitre’s Argentina, 1985 is unmistakably evoked through the film’s title.The horrendous historical reckoning inherent to Santiago Mitre’s Argentina, 1985 is unmistakably evoked through the film’s title.The Associated Press NEW YORK (AP) — He was a famous moviemaker.
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He did it before, playing a former criminal investigator in director Juan José Campanella’s “The Secret in Their Eyes” (2009), which won the Oscar for foreign film. In “Kamchatka” (2002) he portrayed a research scientist hiding out with his family from the military police.
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Co-written by Mitre and Mariano Llinás (the filmmaker behind the four-part epic La Flor ), Argentina, 1985 is a stylistically assured procedural that manages to tastefully recount the mass torture, rape, killing and “disappearance” of more than 30,000 Argentine civilians by the military dictatorship during the so-called Dirty War that lasted nearly a decade from 1974 through 1983. And in “Kóblik” (2016) he starred as a former Navy pilot who becomes a marked man after disobeying an order to take part in so-called “death flights,” in which purported enemies of the junta were stripped, drugged and thrown out of airplanes and helicopters.
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Through capturing victim testimonies as they were presented in court during this months-long trial as well as the dogged pursuit for justice by a ragtag team of bravely dedicated prosecutors, the film wholly resists sensationalization, opting instead to faithfully reconstruct the events that culminated in a landmark win for social justice amid a shakily budding democracy. But he’s added a new twist in “Argentina, 1985,” which premieres Friday on Amazon Prime Video and is Argentina’s Oscar entry for international film.
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Ricardo Darín plays Julio César Strassera, the lead prosecutor of the Trial of the Juntas, who is initially fearful over the prospect of publicly presiding over the case against these murderous fascists, none more notorious than one-time acting ruler Jorge Rafael Videla. It’s the first time he’s played a real person from that bleak era, Julio César Strassera, a revered figure who’s rightly regarded as a defender of Latin American democracy.
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And so began, Breest said, a sexual assault that ended with the Oscar winner raping her. An Argentine lawyer, Strassera served as chief federal prosecutor in the 1985 trial of the military leaders responsible for massive human rights crimes.
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This anxiety manifests in subtle and overt ways — he loses sleep, relies on nerve-numbing cocktails and begins taking his son to school on the subway instead of risking the threat of car bombs being planted in his modest sedan. This anxiety manifests in subtle and overt ways — he loses sleep, relies on nerve-numbing cocktails and begins taking his son to school on the subway instead of risking the threat of car bombs being planted in his modest sedan. “I am especially honored to have played this great man — who was incorrectly called ‘common’ or ‘simple’ — within a context in which he and his team had to put aside all their fears and uncertainties,” Darín said, speaking by phone.
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Advertisement Strassera and his assistant Luis Moreno Ocampo (played in the film by Peter Lanzani) faced “a titanic task,” Darín said, in putting together a case for which there was very little “tangible evidence” that directly and personally connected the heads of the armed forces to waging the so-called Dirty War. Together, they select a legal team to aid in their extensive, labor-intensive hunt for witnesses, incriminating documents and written statements that detail the nauseating cruelty and violence of the junta.
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The crimes waged during this era included assassinations, torture, rape, forced exile and the kidnapping and trafficking of minors who’d been snatched by government agents from their imprisoned and murdered parents. As a Spanish-language film from a director who is decidedly focused on Argentinian political affairs, Argentina, 1985 presents key figures, important dates and monumental events with a thoughtfulness that expects a certain level of familiarity with the subject from its audience. × Several of the main commanders were sentenced to life imprisonment, including Jorge Rafael Videla, head of the army, who was later pardoned by President Carlos Menem, arrested again and finally imprisoned until his death in 2013.
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For example, there is no overt attempt to contextualize the presence of las madres de la Plaza de Mayo , one of the only publicly-facing protest groups that existed during the junta.” “I couldn’t understand how somebody who seemed like a nice guy would do that,” she said. Strassera died in 2015.
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“I believe that all of this was achieved due to the efforts of many people who, in some cases, responded to the prosecution’s call to give testimony before the court,” Darín said. When some of Stressera’s underlings approach the activists, they agree to help by handing over whatever documents the now-formal association has in its possession. When some of Stressera’s underlings approach the activists, they agree to help by handing over whatever documents the now-formal association has in its possession.
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“Democracy had just been restored, and a lot of people didn’t really believe that this trial was going to take place, even after it was announced.” “Argentina, 1985" is the second collaboration between Darín and director-screenwriter Santiago Mitre following “La Cordillera” (2017), in which the actor portrayed a fictional Argentine president of dubious morals, reminding some viewers of Mauricio Macri, a neoliberal businessman who served as president between 2015 and 2019.” When a young woman assisting with the case clarifies that Stressera didn’t do anything noteworthy during the junta, the mother solemnly clarifies her point: “Nothing. “When I made that film with Ricardo, I discovered that, in addition to being a talented actor, subtle and extremely precise in the way he works and uses his dramatic resources, he is a filmmaker, a person who thinks about cinema in all its aspects,” Mitre said. He did nothing.
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31, 2013. “He was the first I thought of to tell this story, and he told me right away that he would play Strassera.” Additionally, talk of Peronismo , an anti-junta political leaning that aligns itself with the pre-dictatorship presidency of Juan Perón (whose sudden death and subsequent succession by his VP and third wife Isabel led to the destabilization that saw the junta take power) is pervasive throughout the film, but there is little background presented on this leader and how the populace came to view his presidency in hindsight during an oppressive dictatorship.” Advertisement Peter Lanzani (left) and Ricardo Darín portray the lead prosecutors in “Argentina, 1985.” (Amazon Studios) When the first hearing of the so-called Juicio a las Juntas convened, Darín already had begun working as a young actor, enjoying a minor but growing fame from roles in film, theater and television. After all, the U.
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After all, the U. He didn’t hear the eloquent and moving speech with which the prosecutor closed his argument in court, which is reproduced in the film.
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“This happened almost 40 years ago, when the world of communications was completely different,” Darín said. had an explicit hand in financially supporting the very regime that made life a living hell for the majority of Argentines.
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“You’ve been flirting with me for months,” he soon said, according to her. “On television only some fragments of the trial were shown, only with images that did not have audio, and all the testimonies were presented from behind, without showing the faces of those who spoke, to protect the victims and the survivors.
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American businesses such as the Ford Motor Company and Citibank were directly responsible for the junta’s violent civilian suppression, particularly when it came to “disappearing” workers with pro-union ties.” An audio recording of the speech was later released, and the film makers consulted other historical sources. Of course, this is only one example of heinous interference on the part of the U.
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But they weren’t trying to imitate real events or stage a period piece. “What we’re trying to do is capture what these people were thinking and doing at the time,” he said.
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when it comes to aiding fascist dictatorships in Latin America—this nation also had a significant role in aiding the rise of the genocidal regimes of the Contras in Nicaragua, Efraín Ríos Montt in Guatemala, Augusto Pinochet in Chile and various other South American leaders affiliated with Operation Condor. when it comes to aiding fascist dictatorships in Latin America—this nation also had a significant role in aiding the rise of the genocidal regimes of the Contras in Nicaragua, Efraín Ríos Montt in Guatemala, Augusto Pinochet in Chile and various other South American leaders affiliated with Operation Condor.
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“We tried to imagine all that, and hand in hand with a script as well-written as the one that was used, we formed a team in which we fed each day with a little more information. She said she asked to take a shower as a subtle way to get out of the room, but he followed her there, then steered her back to the guest bedroom and made a further series of unwanted sexual moves that culminated in rape. But we always had the objective not to copy and to reserve a small space of freedom in terms of imagination, because we have to remember that this is a film that recreates the trial, but that also appeals to fiction by showing situations that did not exactly happen that way.
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Sumptuously captured by cinematographer Javier Juliá’s lens, these visual facets make the two-hour-and-twenty-minute runtime melt by.” Mitre and his co-screenwriter Mariano Llinás conducted several interviews with the deputy prosecutor, Luis Moreno Campo, and met with Strassera’s widow, Marissa, his son Julián and most members of the team of prosecutors. Of course, the film’s streamlined, never-clunky narrative is no doubt bolstered by Llinás’ involvement as co-writer. Advertisement “A lot of the scenes we show are directly inspired by what these people told us, and spending time with these same people made me bond with them,” the filmmaker said.
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After helming an 808-minute feature in 2018, an 140-minute undertaking must feel like light work. “When they saw the film, they felt good about the way it portrays what happened and the role they played in the trial.” Ricardo Darín se mantiene en el cine y el teatro mientras sigue oponiéndose al capitalismo Ricardo Darin “Of course, outside of any political discussion, what we wanted to do was a good movie, that could dialogue with the audiences of this time and with the viewers who knew nothing of the process that took place in those times,” he added. Set just a year prior in 1983 (the last of the military dictatorship’s reign), the film follows a politically naïve upper middle-class woman whose husband is a government official.
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Set just a year prior in 1983 (the last of the military dictatorship’s reign), the film follows a politically naïve upper middle-class woman whose husband is a government official. She said she informed her boss the next year that Haggis had done something bad to her. To that end, Mitre wanted to make the movie’s visual and narrative style accessible in the manner of a classic Hollywood courtroom drama.
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“I was thinking about John Ford, about [Frank] Capra, about [Howard] Hawks, about Billy Wilder,” Mitre said. After hearing this confession, the woman begins to wonder if her own adopted 5-year-old daughter may have been born to a woman suffering under similar circumstances. “And although it may sound pretentious, sometimes your references also have to do with the art world.
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Argentina, 1985 also features extended testimony from a woman who was forced to give birth while blindfolded and handcuffed in the back of an unmarked van.” Strassera also personified the “hero in spite of himself,” a classic cinematic archetype, Mitre continued. After transporting her to a secondary location, the woman’s military captors refused to hand over her visibly malnourished baby. Advertisement “We were also looking for the tension of contemporary cinema, and in that sense, we thought of ‘All the President’s Men’ and ‘The Post ' by [Steven] Spielberg, where there’s a very energetic concept of group work,” he added.
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“I didn’t want my work experience to be awkward,” she testified, so “I pretended like everything was normal. “Nor should we forget about Latin American cinema.
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The fact that Argentina, 1985 exists 37 years after the trial’s conclusion is far from a criticism, though it does make one appreciate the political immediacy of a film like La historia official . The fact that Argentina, 1985 exists 37 years after the trial’s conclusion is far from a criticism, though it does make one appreciate the political immediacy of a film like La historia official .” He cited Pablo Larraín’s “No” (2012), starring Gael García Bernal, about a plebiscite that led to the unraveling of Gen. Augusto Pinochet’s dictatorship, as “a great film that also narrates a democratic transition, although it is the Chilean one, which was very different from the Argentine one.
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Even more promising, however, is the idea that audiences could gain insight into an unlikely victory of a country making its first unsteady steps into newfound democracy — a hopeful reminder that freedom can and will prevail under the power of collective activism and solidarity.” In “Argentina 1985,” Darín, who is 65, plays a man who was in his early 50s when the Juicio a las Juntas began. Director:. His deputy, Moreno Ocampo, was much younger (33 at the time), as was most of the rest of the prosecutorial team — a contrast that underscores the gap between how older Argentines recall (or choose to forget) the Dirty War while younger Argentines attempt to piece it together.” The messages are salted with lighthearted texting slang — “lol,” “omg,” “haha” — that Breest says were attempts to use humor to defang a tough subject.
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The film’s representation of the team of prosecutors accurately reflects its overall youthfulness. (Amazon Studios) “When we started this project, we realized that people had very little recollection of this trial, which showed us how important it was to tell this story not only to young people in our country, but also to those in different parts of the world,” Mitre said. “It was necessary to prove that the search for justice is necessary to consolidate a democratic ideal,” Mitre said, particularly at a time like the present in which democracy is being undermined and losing support among young people who haven’t experienced the horrors of dictatorship and may take democracy and the rule of law for granted.
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The connection that the film seeks with young people hasn’t gone unnoticed by Darín. Advertisement “If there is a possibility that this film has a message, it is found precisely in the youngest, because it is understandable that people who were born under a democracy do not realize the dimension of what happened, all the suffering and obstacles they had to go through. “I thought I was getting a ride home.
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” “We live in an era,” he continued, in which young people “are glued to their phones all the time.” “But reality is reality: There was torture, there were disappearances, there were atrocious actions against people who had absolutely nothing to do with the accusations made against them, and which occurred simply because they were on a detainee’s agenda or because someone pointed a finger at them.” Regardless of political ideology, the trial depicted in “Argentina, 1985" argues that there must be standards of right and wrong that apply to all humanity. “After that, you can have whatever political position you want,” Darín concluded, “but you cannot fail to recognize that there are ethics, values and morals that must be respected.” .
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