La cámara oscura

the movie tells the story of an ugly woman, and that's all, it has not a single moment of action or any kind of deep emotion expressed on the screen, it only tells the sad boring story of an ugly woman, its true that it has nice landscapes and the dressing and costumes of the epoch are well represented, but besides that it left no taste in my mouth it was as boring as watching a wall for an hour and twenty minutes with the difference that by watching the wall i could imagine cool stuff. I have nothing against Argentinian movies, in fact i've watched some of them last year that were really good movies, even with a slow pace and simple stories to tell, but this wasn't the case. This movie features nothing, there's not a single performance of quality, the actors spoke as actual Argentinians, supposing that the film took place one century ago, this is not believable, none of the characters (including the main character Gertrudis) has nothing, absolutely nothing to say, no importance at all in the story, some of them could even be erased and the movie would still be the same. I like Argentinian movies to come out, but please, not everyone deserves to be a director.

It comes and goes with independent movies. The truth is they always seem to have something different to say, something more to say; but there are also times when they come with a straightforward story, filled with emotion, and you can't help to like them. At least that's how I see it in Argentina, thinking very quickly that, for example, "Un Oso Rojo" hasn't got any big or fundamental message, but tells a slice of life that gets right into your heart.

"La cámara oscura", the film by María Victoria Menis, is a piece of a strange nature, that couldn't enter into any of the groups I mentioned above (if there is such thing as those groups in the first place), simply because it's the first picture I've seen in a long time that doesn't seem to know exactly what it wants to be.

It tells the story of Gertrudis (Mirta Bogdasarian), one of the children of a Jewish family that escapes from their home country to go to Argentina. Gertrudis comes to life from her mother's belly, and maybe that's the reason of her strange beauty, when she's coming down of the ship that brought her to Buenos Aires.

It's important that you notice the expression "strange beauty", because it's one of the fundamental aspects of the movie. There are two aspects that you would expect the writers to develop after witnessing Gertrudis' birth, but they sort of evade them. With this I mean that they do delevop these things but they don't do it fully, a fact that gives the film a simplistic look. There's an intention of representing a historical period in the country that never takes shape and there's a relationship of silence, more like indifference, between Gertrudis and her sisters; but everything is surpassed by the 'beauty' aspect.

Probably what I'm trying to present as the film's fundamental aspect is the only thing the film cares about, and this turns out to be a problem. When we understand that Gertrudis is seen as ugly by all the people around her, we feel obliged to feel sorry for her. This can never be possible in a movie, and least possible in a piece like this one, that only cares about a central character.

There's something secretly sad about a woman that only knows to watch her own feet and is not able to raise his head but nothing secret about the way "La cámara oscura" guides us towards this conclusion. The rest is background, and it's not attractive enough to carry a full-length feature. Like that failed attempt at meditation directed by Santiago Loza, "Extraño", Menis gives us beautiful images of beautiful fields in peaceful times. It shows us a family that lives happily by repeating a boring routine (which is understandable, due to the time period and the activity of the father, head of the family in question), and at times elevates the risk with animated sequences.

What I mean with thee fact that the film doesn't know what it wants to be can be appreciated just by watching it: "La cámara oscura" has nothing to say. If you read the first paragraph of this review, you could say I'm contradicting myself because I defend movies that don't have a fundamental message; but these films at least have something to say. Except for the final scene, during which I found myself smiling, this film has nothing to say, and therefore the viewer has nothing to feel.

However, "La cámara oscura" is a very interesting film because it tells a love story we're not accustomed to watch every day, and it tells it relying mostly on images and looks, without the need of using a lot of words; and that's always appreciated.

The Argentinian film La cámara oscura (2008), directed by María Victoria Menis, was shown in the U.S. with the title "The Camera Obscura." It stars Mirta Bogdasarian as Gertrudis, a woman so unattractive that her own mother cannot bear to look at her. (Actually, Ms. Bogdasarian isn't even remotely as unattractive as the character she portrays. Nonetheless, the point of the story is that she's unattractive, so we have to accept it.)

I knew that some Jews who escaped the Holocaust managed to get into Argentina. However, I didn't realize that immigrants like Gertrudis's family had arrived much earlier, to escape the Russian pogroms. They settled in rural Argentina, and became farmers and ranchers.

The story moves forward 20 years, by which time hope has been lost in regard to a marriage for Gertrudis. Nonetheless, she does eventually get married, to a wealthy widower, whose first wife was beautiful but unfaithful. The plot really begins much later, after World War I, when Gertrudis, her husband, and her family are living on their large ranch. Into this situation comes a French photographer, a former war correspondent, who takes pictures of everyone, including Gertrudis. What happens next is somewhat ambiguous, and each viewer will have to decide the significance of the last scene in the film. (Apparently Ms. Menis has been quoted as saying that the last scene is not ambiguous. Most of us in the audience thought it was.)

An interesting facet of this movie is the portrayal of Gertrudis's husband and their sons, who have adopted the Gaucho costume, and who work alongside the hired ranch hands. In the same way, the women work hard at the traditional female jobs. An English squire, in similar circumstances, would have a life of leisure, and his wife would have maids to do the hardest work. Not so, apparently, in Argentina. Assuming that this is an accurate portrayal, I found these facts fascinating.

The film has some beautiful scenic shots, and they'll be mostly lost on the small screen. Better to see this film in a theater if possible. We saw it at the excellent Rochester Jewish Film Festival.

P.S. For reasons I don't understand, this movie has a dismal weighted IMDb average of 6.3. It's not a great film, but it's much better than that. The Camera Obscura is definitely worth seeing.