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I was born in Argentina, but it was only twelve years after I had left my country that I developed an interest in Argentinean cinema. As a teenager, I would go to the cinema to see American movies, just like everyone else. It would never have occurred to me to watch a movie from my own country. In the year 2000, I visited Argentina as a tourist for the first time, and my best friend suggested we see Alberto Lecchi’s _Apariencias_, with Adrián Suar and Andrea del Boca. It’s a silly movie, but I enjoyed it immensely. The humor was my kind of humor, and I was amazed to see, on the big screen, places I had been to in real life.
At the time of writing, _The Secret in Their Eyes_ (Juan José Campanella, 2009) may well be the most internationally well-known film from Argentina, followed closely by _Wild Tales_ (Damián Szifron, 2014). Both of these films are in imdb’s top 250 list. _The Secret in Their Eyes_ won an Academy Award; _Wild Tales_ was nominated for one but did not win. Many years before, _The Official Story_ (Luis Puenzo, 1985), an important and problematic film, became the first Argentinean picture to receive an Academy Award. Others were nominated but have been largely forgotten outside of Argentina: Sergio Renán’s _The Truce_, María Luisa Bemberg’s _Camila_, Carlos Saura’s _Tango_, and Campanella’s _Son of the Bride_, and there is, of course, the _A Place in the World_ fiasco, although the movie itself is one of the best I’ve seen. Is _The Secret in Their Eyes_ the best Argentinean film ever made? I don’t think so, but on the rare occasions when an American friend expresses interest in Argentinean cinema, this is the film I point them to.
The film revolves around Benjamín Espósito (Ricardo Darín), a retired legal counselor who decides to write a novel about a rape and homicide case he was never able to forget. In order to get his thoughts and memories in order, he reunites with his former boss, Irene Menéndez Hastings (Soledad Villamil), who remembers the case but has closed the book on it. As Benjamín writes his novel, he reconnects with Irene and they both remember the shattering events that brought them together. We gather details about the case through flashbacks.
The past is the most prominent recurring theme in Argentinean cinema. It may take the form of nostalgia or of a nightmare. This gaze directed towards what has been is one of the features of the Argentinean national character. I know this is a rather categorical statement, but to put it simply, or if you will, simplistically, we are people who live in the past. Benjamín illustrates this perfectly. Irene is there to counterbalance this tendency: she remembers, but she knows it is better to forget (though not entirely). This is not just a Mulder/Scully dynamic, if you’ll pardon my X-Files reference here. Irene’s desire to turn the page responds to personal motives too.
Ricardo Darín has become, for good or ill, the incarnation of the Argentinean middle-class, middle-aged male. He has occupied the place that once belonged to Federico Luppi, to Luis Brandoni, or perhaps more accurately, to Héctor Alterio. He looks like he is strong and in control, but stare into his eyes and you will see great vulnerability, sometimes even helplessness. This works perfectly in _The Secret in Their Eyes_: it is very easy for an Argentinean to sympathize with Benjamín. Soledad Villamil, for her part, is not as famous (she has been in only 23 films so far), but she is undoubtedly one of the best actresses in the history of Argentinean cinema, and this film features one of her most memorable performances. Her first important film was Lita Stantic’s _A Wall of Silence_ (1993), another exploration of the past that refuses to be forgotten; years later she appeared with Darín in Campanella’s _The Same Love, the Same Rain_ (1999), and with Julio Chávez in Israel Adrián Caetano’s _A Red Bear_ (2002). Villamil is great at embodying a sensitive woman who knows how (and when) to appear powerful and stoical. Both actors, then, are effective when it comes to showing an attitude while hiding the opposite. Both nail, in addition, the type of sarcasm that is one of the key features of Argentinean humor.
The plot is compelling, and the alternation between past and present not only reflects Argentinean character, it also keeps the viewer interested as the events unfold. The ending is simply unforgettable. Part of the problem with the American remake of this film (a negligible effort that I will not discuss here or anywhere else) is that the original ending was altered, and this simply causes the entire story to fall to pieces.
Great acting and a great screenplay. We need another ingredient: great cinematography. _The Secret in Their Eyes_ is beautifully photographed and features an eerie color palette that emphasizes the fact that the past lives on in the present. (This is a film about memory, just like _The Official Story_, though in a different way.) When it comes to interesting shots, look out for the soccer field sequence exactly halfway through the film. It’s a long take that you’ll either love or hate; it cannot be ignored or met with indifference. Many people cite this sequence as an implausible moment in the film. The same is said of the interrogation scene that takes place soon after. There’s truth to these arguments. _The Secret in Their Eyes_ is flawed, sure. I don’t recall having seen a perfect film so far. If you have, please let me know!
Why is this not my favorite Argentinean film? Perhaps the Academy Award has something to do with it. There are many great films from Argentina, but this one won the Oscar, and when it happened I couldn’t help thinking about Campanella’s ties with the American industry. (He has directed episodes of _Law & Order_, _House_, and others.) There is no doubt that Campanella is a brilliant director, and _The Secret in Their Eyes_ a brilliant film that deserved the Oscar. (Though I feel it could equally have gone to _A Prophet_ or _Ajami_, two of the contestants that year.) It’s just that that connection bothers me a bit. I am happy that many people outside of Argentina have seen _The Secret in Their Eyes_, but I cannot help but wonder whether globalization and cultural (in this case, visual, cinematic) homogenization have something to do with this. My question, in other words, is: are people truly becoming more open-minded, or is it rather that art and expression are becoming uniform? A complex issue if there ever was one. Let’s just say I wish more people would watch, say, 80s Argentinean cinema and appreciate how different, disquieting, even jarring, it is. Now that would show a true openness.
My concerns aside, _The Secret in Their Eyes_ is an important, satisfying, memorable film, and it really is one of the most effective Argentinean films ever made. If you’re new to Argentinean cinema, this is probably the best place to start, but I hope you will be inspired to watch other films from my country, especially some of the independent ones and the pre-globalization ones. There was a “golden age” of Argentinean cinema in the 40s and early 50s. The 60s saw the emergence of the first generation of independent filmmakers, such as David José Kohon, my personal favorite. This was the Argentinean equivalent of the Nouvelle Vague. The 70s were characterized by both great openness and great censorship, as films began to explore controversial topics. The films of the 80s are usually referred to as “democracy cinema;” after the end of the military dictatorships, film was finally free to explore any subjects with complete freedom. The 90s began with a crisis, until the government intervened to promote the national film industry; from then on, with the advent of international co-productions, Argentina has produced an increasing number of films per year. There is plenty of territory to explore here.
My next Argentinean film will be _Taxi, an Encounter_ (Gabriela David, 2001).
Thanks for reading, and enjoy the film!
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When I received the case it still had the plastic wrapping. So when I pulled out the DVD, I was surprised to find it scratched already. Movie still works from what I can tell. But I’ll have to watch it completely to make sure it doesn’t cut out anywhere.
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Français ou espagnol, le film est et reste encore meilleur
Reviewed in France on August 30, 2019
