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“La Cordillera”: White on white

“La Cordillera” is a drama that grows in order never to explode, where affiliations and madness appear in the pure white of Argentine snow.

“La Cordillera” is the third film of Santiago Mitre and it could be said, after The Student (2011) and La Patota (2015), that there is a progression in the level of ambition of each one of these films, the universes chosen to represent and The level of intensity and transcendence of their conflicts: in the first, Esteban Lamothe interpreted a student of the UBA that began to ascend in the university politics and was faced with the dilemma of doing things well or betray itself to continue climbing Positions. In La Patota, Dolores Fonzi was the daughter of a judge who taught as a volunteer in a school in the north of the country and to which a gang of boys raped; She of course had the possibility of denouncing them and even obtaining justice (at least in the legal sense of the term) given the privileges that put the father’s position within reach, but chose not to do so and carry forward the pregnancy that was Product of that violation. In “La Cordillera”, Ricardo Darín interprets the very President of the Argentine Nation, in this case a fictional Hernán Blanco that appears from the beginning as a neutral, simple type, devoid of salient features. And that, for a moment could be associated with the good, it becomes richer and more complex throughout the film to build a novel type of villain.

Perhaps that is the most interesting point of “La Cordillera”, which displays around its protagonist a dazzling world, a kind of great fresco full of powerful secondary characters, drama that intensifies to never explode and imposing scenarios that need, and use best , The screen of the cinema to exist in all its dimension: from the Casa Rosada to which we access almost as intruders at the beginning of the film, to find us suddenly in the office where Mariano Castex (Gerardo Romano), Luisa Cordero (Erica Rivas) And other presidential advisors decide the fate of public life in the coming days, to the great hotel located in the snowy mountains that with its style of a few decades ago gives a slightly out of time air to everything that happens inside ( It is known that Mitre and Mariano Llinás, its co-writer, are more interested in staging conflicts of a universal character than situations related to the individual The film is perceived and enjoyed both in its grandiosity and in the idea of ​​interrupting the protocolary life of its protagonist with the presence of a disturbed woman who is her own daughter.

Dolores Fonzi, who looks like Marina Blanco, enters the scene. Marina is separating from a conflicted man, who can tarnish his father’s reputation, and it is necessary to keep it at bay. In addition, he had psychiatric problems in adolescence and now seems to be losing his sanity, so that the father agrees to a session of hypnosis to bring her back. All the scenes in which Blanco’s daughter intervenes are perhaps the best of “La Cordillera”, who through it wants to open a fissure in the image -impolute, and there is also humor about it- of a type that is not for nothing called White . Marina’s hypnosis scene is brilliant, perhaps the freest in a movie that the rest of the time seems to strive to be intense and keep a presidential, even rigid composure. And when Marina and the father drive along the route and sing, there finally appears a man of flesh and blood, a father, in that personage who for the rest of the time acts soberly his role of politician. More importantly, there Blanco, who is also Darín (the best letter that has the Argentinean cinema), becomes querible. But, oh paradox, it will soon be known that Hernan Blanco in white has nothing and that evil is in him – a malady that receives the very name of Diablo. There is something childlike in all of this, a certain naivety of white on black that perhaps is not questionable in itself but does not fit with an ambitious cinema that, again and again, returns as a teenager impressed on a basic idea of ​​power as synonymous with wrong.

(Español) Nota original

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