La película del rey

A film crew in Argentina prepares to shoot the wild-but-true adventures of a man who in 1860 declared himself "King of Patagonia." The director's artistic vision and his producer's business sense struggle to complete the project while dealing with the complications of losing their financial backing, fighting government red tape, and juggling an off-the-street cast and crew -- including live pigs -- in an old bus.

As the movie weaves back and forth between real life and scenes from the film they are trying to create, the project disintegrates into a madness that parallels that of the King of Patagonia. Amid a surreal desert landscape, left with only mannequins as his actors, the director's dreams turn into dust and blow away in the Patagonian wind. But all is not lost...

This is an excellent movie, echoing the real-life attempts of Sorin to make his film about de Tounens, the historical figure who, inspired by stories of travellers returning from South America, decides to make the freedom of the Aracuana indians his goal, by proclaiming himself their ruler.

Entertaining, bizarre, funny, touching -- definitely worth the viewing.

Sorin's movie is based on a true story. In 1972 Juan Fresán,a very creative man from the advertising world, began filming "La Nueva Francia" a film that would tell the story of Orélie Antoine de Tounens, a French madman that proclaimed himself King of Patagonia. The project was described as un "underdeveloped superproduction".

The project failed, as it fails in Sorin's movie, due to lack of funds and also because in 1974 Fresan had to go to exile.

Sorin had been the cinematograpehr of La Nueva Francia and based on that experience he began his own project. Fresan never approved Sorin's project.

Some footage of La Nueva Francia was found by Fresan in 2004 the same year he died a few months later. That footage including interviews to people involved in the project, including Sorin,was turned into a documentary film by Lucas Turturro called Un Rey para la Patagonia, that premiered in 2011

How to express the pain and suffering of a director in a small country as he struggles to bring his movie to life and every circunstance is against him? Carlos Sorin, one of the most experienced Argentinian directors working in commercials, has done it so well, that I feel extremely proud to have worked with him years ago. With a touch of surrealism and some great performances, he creates a story to behold, as we don't know if to laugh or cry at the truth of his message. A celebration of the artist as a crazy fool.

La Película del Rey follows a spurned director who suffers a string of unfortunate setbacks, who each time becomes more and more determined to finish his project. The journey of the director as he tries to get funding, train actors, and improvise scenes is exciting, and the string of misfortunes that befalls him can sometimes be humorous, but jumping into it in a comedic mindset, La Pelicula del Rey fell pretty flat. Although the situations in this Argentinean comedy can be outlandish and the movie has some great moments, it is not especially funny as a whole. The satire of the film is rich, however, and provides the real value of the movie. If you're in the mood for a comedy, go elsewhere, but if you're looking for a clever satire about the Argentinean film industry, this is your movie.

Movie-making can sometimes be, at best, a desperate enterprise, which is one reason why the process lends itself so well to satire. In this slick but all-too accurate Argentine parody a director's devotion to his pet project gradually turns to obsession when Murphy's Law takes control: anything that can go wrong does go wrong, beginning on the eve of photography with the producer's disappearance and a mutiny among the cast. The lengths to which the frustrated auteur pursues his dream, a dramatized history of a 19th century French pioneer's ill-fated quest to declare himself king over primitive Patagonia, soon lead him into delusions of grandeur equal to those of his subject, and as a result his film grows more absurd and abstract as it continues. The satire works on several levels simultaneously, with the director himself becoming a surrogate emperor, and his megalomania suggesting a parallel to the country's turbulent political leadership.