Il segreto dei suoi occhi

The retired justice officer Benjamín Espósito (Ricardo Darin) decides to write a novel based on the Morales Case of twenty-five years ago and has difficulties to find the right beginning. He visits his former chief Irene Menéndez-Hastings (Soledad Villamil) in the tribunal to show his draft. In the 70's, Benjamín has an unrequited love for his new-hired chief Irene that belongs to an upper-class. Benjamin is assigned to investigate the murder of Liliana Coloto (Carla Quevedo), a beautiful woman recently married with Ricardo Morales (Pablo Rago) that had been brutally raped and murdered. Benjamin and his alcoholic partner Pablo Sandoval (Guillermo Francella) feel touched with the grief of Ricardo and go further in their investigation. Benjamin observes that a man named Isidoro Gómez (Javier Godino) is staring Liliana in many pictures and he becomes the prime-suspect. Meanwhile the tension between Ricardo and Irene increases along the days but Ricardo does not understand the signs of her eyes. Twenty five years later, Ricardo is still haunted by his love for Irene and for the unsatisfactory resolution of the Morales Case.

"El Secreto de Sus Ojos" is a film awarded with the Oscar of Best Foreign Language Film of the Year with a dramatic story that perfectly entwines crime, thriller and a subtle romance in an adequate pace. The direction of Juan José Campanella is tight and the screenplay is wonderful, unfolding two lead stories – the brutal murder of a young woman and the repressed love of a subaltern for his chief – with many subplots. The acting is top-notch, with excellent dialogs and many funny lines but never vulgar. The cinematography and the camera work are magnificent and there is one specific scene very impressive with the camera approaching to the stadium in the middle of a soccer game between Huracán and Racing. My vote is nine.

Title (Brazil): "O Segredo dos Seus Olhos" ("The Secret of Your Eyes")

I am one of the people who always criticized Argentinian movies, because most of the times the scripts makes no sense or the story is slow or some scenes pointless, but El Secreto de sus Ojos is a master piece.

The ambiance, the photography, the script, the acting (I cannot stand Guillermo Francella but in this movie he completely shut my mouth, wonderful acting), everything makes this one of the greatest Argentinian movies I ever saw.

On a side note, as a reply to dardo766 I have to tell you that it may be childish for you the language in that scene, but actually is very common here all the swearing you are complaining. I think one of the greatest things of the movie is the dialogs, with or without swearing, it is very local and this might be the only flaw of the movie.

In my country, Juan José Campanella is synonym of 'cinema of the highest order'. The director works in USA and from time to time he brings a new film. We know, dramatically, what we're going to watch: Ricardo Darín in an important role, a lot of sentimentalism, references to the country's past, a love story. And technically, if it's the highest order, there won't be any complaints. When the film ended, the people in the movie theater started clapping.

"El secreto de sus ojos" tells the story of Benjamín Esposito (Darín) and his need to tell the story of a case that wasn't completely solved 25 years ago and had an important impact in his life. A woman raped and killed and a husband with the surname Morales (Pablo Rago) who went every day to every train station in Buenos Aires to see if he could find the killer. "You have to see his eyes; they are in a state of pure love", Benjamín professes in front of Irene Hastings (Soledad Villamil); his boss and the woman he loves.

There are things we never forget, Campanella knows well, and that might be the film's most important declaration. We expect from the director a powerful love that grows with the years, as we saw with Darín and Villamil in "El mismo amor, la misma lluvia"; we expect characters with inner ghosts, things to hide and things to hold on to; we expect total control over the language of the environment (in "El mismo amor..." it was a magazine staff, in "Luna de Avellaneda" the neighborhood club), a knowledge of the customs and the way of speaking of characters that makes for day-to-day comedy. In this aspect, the casting of Guillermo Francella as Pablo Sandoval is crucial. Taking the place of the best friend role always in charge of Fernando Blanco, the comedian plays a drunk with a lot of respect for friendship. His change of look, the measurement of his composition and how he enlightens it with comic touches make for one of the year's best performances.

That's about everything we can expect. The fact is "El secreto de sus ojos" is a very good movie because there are things we don't see coming. The film contains a treatment of a police investigation that hasn't been seen in our cinema for years. In his riskiest picture, Campanella flirts with thriller, mystery and real action (handy-cam included); he acquires true tension and a sequence in a soccer stadium is the best example of it. He understands when silence is required and when the loneliness of the characters –each of them with a rich, mysterious private and inner world- must be seen fully. It's quite embarrassing in fact, because Darín as a director tried to achieve something like that with "La señal". Even though it's obvious Campanella took no inspiration from that film, everything that went wrong there can be seen here, improved. And Soledad Villamil is no femme fatale. I take a risk, however, and defy you to tell me if, because of image and makeup resemblance, and disposition of images and voice in off, the movie towards the finish line doesn't take direct inspiration from Chris Nolan's "The Prestige". It's quoting it somehow, at least.

It's very moving to watch excellent performances from recognized actors. We've seen them on screen so much, we know what they do, we admire them and respect them and, as with Campanella, we tend to know what to expect. However, sometimes they enchant us with every face in every frame, with every word in every conversation. I'm trying to explain to you the feeling of what Villamil and Darín do in this film: it's enchanting and contagious, purely human (as it occurred in "El mismo amor..."), but at the same time moving, simply because they're not unprofessional actors that fit in the look of the film, or young actors with expressive faces, or newcomers that take our breath away: they are Ricardo Darín and Soledad Villamil. Campanella has a lot to do with this, because he knows how to make them work together and he made an effort so they would not repeat what they had given us in the other film I've mentioned.

The fact that Fernando Castets didn't write the film calls our attention; the script was written by the director and Eduardo Sacheri. It also calls our attention that Campanella himself edited the movie. Is this film-making of the highest order? I believe so, in our country, and speaking of something commercially successful too. It's the only movie seen by many people that can generate interest in revising the director's previous work and, who knows, maybe other national pieces.

I can't add a lot to what has been written. The direction and cinematography aside (which is magnificent), this is an incredible psychological study, involving a group of the most complex of characters. Esposito finds himself in love with two people: the woman who was once his boss and because of inaction, left him heartbroken, and, secondly, a beautiful young rape/murder victim. Over a twenty-five year period, these forces never leave him. The rapist is his Moby Dick to his Captain Ahab. Since we don't see a lot of what happens in the intervening time, we must wonder how empty and fruitless his life has been until he has his epiphany. Mixed in all this are the politics of Argentina and the vengeance of a horrible man. Also, in the middle is the messed friend, an alcoholic, who can be a true talent, but is submerged in his problems, spending his time in bars. If we look to literature we might consider him the Sydney Carton of this film. When you see what happens to him, you will see why I choose this character as a reference. This is one of the finest films I've ever seen. It has it all.

"El Secreto de sus Ojos" hit me with unspeakable strength. I didn't expect to like it so much, so I owe a review to those in analysis measures before seeing it or those interested in some opinion.

First off, Campanella works with flawless effort all of the technical aspects of the film. It even starts with a double exposure effect, mixed with some sad shots of a beautiful Buenos Aires that hints the spectacle ahead of us. One shot especially, from a chopper in a soccer field edited with a crane shot is breathtaking. Nothing to envy from Hollywood upper class.

But the main strength of the movie comes from the powerful narrative dominion Director Campanella has over characters, spaces and silences. Many moments are coldly tense, scary and very, very intense. This crossover from genres by Campanella couldn't have been better. Crime stories often fall in common places, this one relies on the fragile psychological state of the audience to draw all of it's intense dialog, acting and scenes.

I cannot stop recommending it, Argentina can open it's market with movies such as this. It has many, many memorable moments, it interwines comedy perfectly and it is doubtful you will instantly forget it, as it is so well constructed. See it if you can!