Nueces para el amor

This movie was a great motivation to go out of my stress. I feel absolutely identified with it. It has a very good script and the actors are really great too. The politic theme is in there, but so softly. The real important in this movie is the love between two persons that never be in the right place and the right time.

Three stories involving two characters. Changes in color (from neat color to black and white). Great performances involving Gaston and Nicolas Pauls, Malena Solda, Ariadna Gil, etcetera. And the mixture of politics and love. Music of the '70s, '80s, '90, and the year 2000. From Charly Garcia, the start of the movie and through it to Bersuit. Romantic, with funny scenes (the one she asked him if he had made love and he answered no) and very good. Of course, I cried. 8 out of 10.

Saw this film again after nearly 5 months. I was listening to the soundtrack and that reminded me that I should have had a chat about it on January with a friend that didn't like this movie at all. From the heart, I found it beautiful starting from the soundtrack, the division of colors that separates parts (decades) and some aspects related to photography, etc. But what I always say is about the feeling, the emotions. But trying to concentrate of what my pal said about the poor dialogs, I mean, he is right. I think that dialogs are the most important thing to take care. Even if you give to a good director a movie with a poor screenplay, he won't make it better. Andrés.

A bittersweet kind of romantic soap opera loosely tied to three decades of Argentine history, not quite certain of its center -- that pretty well sums it up in terms of plot. Redeeming characteristics are generally superb cinematography, sense of place, costumes and makeup, and an occasionally remarkable score.

While Marcelo and Alicia seem destined at the beginning to live together for the rest of their lives, circumstances soon drive them apart. That's where the history bit comes in, accurate but not entirely germane to their personal story. Scenes are episodic and forced, sometimes intruded upon by inexplicable narration. It would be a more powerful film if the "missing" Horacio were seen for a while to lend credence to the Alicia-Horacio versus Marcelo-Claudia nexus.

The force of destiny is always a classic theme in stories such as this, resulting in agonizingly slow development toward the inevitable will he/she or won't he/she realize his/her/their ultimate desires. Either way, somebody is bound to get hurt, and this is no exception. The ending is, as others have said, not entirely satisfactory.

The Argentine film industry is vibrant and innovative in many instances, but this is at best a so-so example.

'Nueces para el Amor' would but be a mere love story, though not in the North American sense, if it were not for several elements that raise this film above such simplistic definition. Life itself is full of fateful events, usually uncontrollable, such that flighty destiny can waylay one at any moment. In this respect, this film can be compared a little with 'Los Amantes del Círculo Polar' (Julio Medem) (qv), not for its content, and even less for its style, but for the way in which capricious fate can play on people's lives. Whereas Medem employs symbol-laden palindromic structures, with great effect, Lecchi's film is lineal spread over many years and its uses of symbolism are much more limited: walnuts (nueces) appear a couple of times in the film well before the connection with the film's title becomes apparent toward the end.

What most stands out for me in this film is the convincing parts played out by the leading actors, Ariadna Gil, who has long since assured me she is about the best actress in film-making in Spain today (qv her mini-biography), and an excellent Gastón Pauls opposite her. Good chemistry here, passionate interpretations from both players, such that some of the scenes are quite memorable. Some improvement in the dialogues might well have enhanced the film. Truly amazing is Señorita Gil's use of a really authentic 'porteño' accent as used in Buenos Aires. But, as I have said elsewhere on IMDb, she is first choice to play 'impossible parts', as she has shown in excellent films such as 'Malena es un Nombre de Tango (qv), 'Tranvía a la Malvarrosa', 'El Embrujo de Shanghai' (qv) and especially in that magnificent drama 'Lágrimas Negras' (qv).

Gastón Pauls, despite being a few years younger than Ariadna Gil, rose to the occasion: good chemistry and empathy combined to produce a credible result, and I must congratulate him for his effort and concentration in managing to come out really well opposite this truly remarkable Spanish actress.

A somewhat quirky element in this film is the different photography techniques used in the different time periods of the film.

'Nueces para el Amor' is not a simple 'love story': I would not bother writing about it if it were.