Tangos: l'exil de Gardel

Being a branch on the Spanish film-making tree, Argentines have no problem with the idea of blending a show within a movie, to the world of the movie itself, and then to the world outside the movie in which the viewer lives.

I call this folding.

I came to this because I knew it had this quality. And that it had something else that fascinates me: dance. Filmed dance is one of the most intriguing problems for a filmmaker and rewarding for a viewer. I love it when it works.

Also, I discovered on viewing that it plays with a related notion: that you cannot really see something that you are part of. You have to be in a fold, removed a bit. And it has yet another notion that compels. Sex as movement, as choreographed caress between two people who have poise that comes from wisdom through grace or pain, usually a mix. Its not a typical Hispanic idea, and is unique to Argentina, a philosophy of embodiment that corresponds in a way to fine acting. This alone, this one idea alone can melt the cauterized heart, and when experienced in life or remembered in art is transforming.

Yes, this film has all these ideas in it. Probably, the filmmaker is one of those wonderful people to know, full of ideas that spill out in ways that don't matter. Any intelligent, or fully felt conversation on any of these ideas will be more valuable than this movie. In fact, that is yet another idea here, that real touch has no substitute. None at all.

Ted's Evaluation -- 2 of 3: Has some interesting elements.