NostalgicQuixote

In 1988, two bizarre films that included sci-fi elements were released in Argentina: _Lo que vendrá_ and _Alguien te está mirando_. Neither of them is a masterpiece, but there's a big difference between them. _Lo que vendrá_ takes itself seriously, and as a result it seems pretentious, it fails miserably. _Alguien te está mirando_, on the other hand, seeks only to entertain, thus avoiding total failure.

Like the classic 80s horror film, this one follows a group of young adults who just want to have fun. Before they head to the typical weekend house, however, these youngsters participate in an experiment run by three American scientists. The experiment involves dreams and a drug, CP1, which produces, as one of the scientists puts it, "maximum stimulation of the oneiric potential." The connection between the experiment and the events in the lives of the young adults becomes clear as the film progresses. All I can say without giving much away is that this movie anticipates a major sci-fi film of the late 90s. (The movie's poster will tell you as much.) By extension, there is also a Borgesian/Phildickian element to the film.

The acting, though not dreadful, is bad enough. The "American" accent of the scientists is awful. Only one of the English-speaking actors (James Murray) speaks good English, but his accent is nowhere near American. The soundtrack seeks to cover all bases: it is a mixture of hard rock, punk, and pop. The inclusion of the Soda Stereo song "No existes" is particularly noteworthy. Music legends Michel Peyronel (drummer for Riff and Tarzen) and Stuka (guitar player for Los Violadores) have brief appearances in the film. In short, the movie has "80s" written all over it. I almost cried when I saw, in one of the scenes, a bag of "chizitos" (the Argentinean equivalent of Cheetos) that looked just like the ones I used to get when I was a kid.

Like _Blade Runner_ (Ridley Scott, 1982), _Alguien te está mirando_ is a postmodern pastiche, though its sources are altogether different: the film's aesthetic is a combination of sci-fi, horror (_Halloween_, _Friday the 13th_), softcore, and music videos. In other words, David Cronenberg is another major influence, which makes sense, when one considers the year of production. One of the film's directors, Maldonado, went on to make _El desvío_ (1998), another film that begins with young people looking for entertainment, so there is continuity there.

It's been exactly 30 years since the release of this film. I guess that makes this review a kind of tribute. The "kids" in the film are probably in their fifties now. I wonder whether they watch their own film every now and then, and what they think. If I were in their place, I'd be proud of myself, in spite of everything. There may be a considerable amount of corn involved here, but in the immortal words of Alf, "one man's corn is another man's pot roast." Different yet unpretentious, _Alguien te está mirando_ is good, silly fun with metaphysical implications.

The only film written by iconic actress Norma Aleandro, and the only feature film directed by David Stivel, _Los herederos_ is a rare bird. Released the same year as Raúl de la Torre's _Juan Lamaglia y Sra._ and Néstor Paternostro's _Mosaico_, it deserves at least as much recognition as these masterpieces of Argentinean cinema.

As the film begins, María Concepción (Aleandro), Juan José (Emilio Alfaro), and María Isabel (Marilina Ross) move into the huge, old, and decaying house they have just inherited. (The women are sisters, and Juan José is their cousin.) María Concepción's lover Carlos (Federico Luppi), Juan José's wife Estela (Bárbara Mujica), and Carlos' friend Raúl (Carlos Carella) complete the picture. The film is quite simply about these six people living in the same house. They are all waiting on the house--a white elephant if there ever was one--to be sold in order to have some money.

The acting is superb, which comes as no surprise when one considers the names involved. The mise-en-scène is equally effective. As in the house of Usher, the state of the building mirrors the lives of the inhabitants, who illustrate the famous line from Jean Paul Sartre's play _No Exit_ that I chose as the title for this review. I also hear echoes of Tennessee Williams. Jealousy, frustration, abuse, and sexual tension make up the film's atmosphere. _Los herederos_, in fact, foreshadows the films of Jorge Polaco, _Diapasón_ (1986) and _Kindergarten_ (1989) in particular, though, needless to say, Polaco would take things much farther. Madness is Polaco's province, and there's a hint of it in _Los herederos_, for instance, when Carlos paints his legs and torso with lipstick, then smears cream all over himself, and finally runs to the shower. This has got to be the most tormented character Luppi ever played.

_Los herederos_ is dark, atmospheric, and oppressive. All scenes take place in the house. The implication is that, even though the characters may leave, they are still trapped (look at the film's poster). The reference to Buñuel need hardly be mentioned. _Los herederos_ is a hidden gem.

I was not sure at first whether to go see this movie or not. The subject is a touchy one for me, and as the film proves, for many people out there as well. It seemed to me that a film about dating could either focus on the awful way men and women treat each other these days, or offer simple solutions to a complicated problem. _The Dating Project_ successfully avoids these pitfalls. The film is as objective as a documentary can be, and it is neither bleak nor naïve.

The documentary focuses on five real people: two college students (one female, one male) in their late teens, a female college student in her twenties, a woman in her thirties, and a man in his forties. The first two, Shanzi and Matt, are a part of the hookup culture, it seems, without even realizing it: this is simply the way their generation "functions." Cecilia, the student in her twenties, is from Mexico but studies in the US, and finds it difficult to meet people in the first place. The woman in her thirties, Rasheeda, has a similar problem, because she has a job that takes up most of her time. Chris, finally, feels that life is passing him by while he decides whether he is ready for the commitment that a good, solid relationship entails. All of these people, who come from different cities (Boston, Monterrey, Chicago, Los Angeles), are looking for love, but they do not know how to go about it. At the center of the documentary is Dr. Kerry Cronin, a philosophy professor who gives her students (and ultimately, the viewer) a dating assignment, and explains the different stages of the lost art of traditional dating.

"I don't know how to date." "I don't know how to meet people." "It's difficult to find someone who is on the same page." "Some people think it's all about sex." "I meet good guys but those are not the guys that I date." "Why am I single?" You'll find all of these "states of heart" (and many more) in this documentary, so most viewers will be able to relate to at least one of the people introduced. As I watched the film, the old feeling rose up in me: the realization that we live in a world where so many people feel isolated, where so many people are desperate to meet someone who is out there desperate to meet them! Many of us are terrified of simply waiting only to find later in life that nothing has happened. The film captures this modern anxiety very well.

The movie reminded me of Erich Fromm's book _The Art of Loving_ (1956), which in my opinion is required reading for anyone thinking about going into a relationship. One of the ideas it conveys is that we are not naturally born with the ability to love, as we seem to assume; that love is an art, and as such, it must be cultivated. _The Dating Project_ is a great illustration of our society's lack of understanding, and sometimes lack of purpose, when it comes to relationships. The film doesn't claim that there were no problems in the age of traditional dating. It simply suggests that traditional dating would help many people to avoid the mistakes they would make by becoming a part of the shallow and unsatisfying hookup culture the media try to sell.

Documentaries have agendas, or theses; that simply comes with the genre. Some will also argue that as soon as you introduce a camera, you cannot speak of "real life." True. A film is a film, and life is life. What this documentary presents is a glimpse into lives that may resonate with viewers. It does not claim to represent an entire society. At times poignant, at times hilarious, _The Dating Project_ will speak to many viewers who long for a durable, meaningful connection. It is true without being depressing, and hopeful without being naïve.