Un Lieu Dans le Monde

Adolfo Aristarain's Un lugar en el mundo is influenced by westerns. An influence articulated in the use of horses, the settings, and the often wide shots that capture the landscapes. The movie illustrates the difficulties haunting people in exile, dreams of a better life elsewhere, and the feeling of belonging to a place that became part of an individual's identity in a coming-of-age that follows Ernesto, played by Gaston Batyi, who returns to the town he called home and awakens memories of a time past that still resonate with him. The impact those years had in his life, how they marked him, is the reason for his coming back and the telling of his story as a twelve-year-old teen. Life back then was with Mario and Ana, his parents, living in a remote valley after fleeing Buenos Aires due to the Argentinian dictatorship of those years.

The movie is engaging from the start. There is an approach in the dynamics and the rules of the world Aristrarain constructs that successfully connects with you. Dialogue is the strongest aspect of the movie, and it isn't a casualty considering Aristarain's idea of dialogue as something immanent to cinematic lyricism, something akin to action in itself. The characters and their idiosyncrasies are clearly defined to then build not only sympathetic interpersonal connections but also the reasons for friction. Un lugar en el mundo is thematically interested in depicting weakness versus strength, social classes articulating power as a political weapon. Mario, played by Federico Luppi, is an idealist union worker on a crusade to stop capitalists' abusive economic conditions against workers like him. This idealism is also found in other characters of the movie in their articulation of potential emancipatory escapes to a reality that finds them unsatisfied. They all have unhealed wounds and are marked by the past. This is the reason for the multidimensionality of Aristarain's feature. There are many layers to the story, some political about the years of the National Reorganization Process, the last Argentinian military dictatorship that ruled from 1976 to 1983, and some religious about the role of religion as an institution and in an individual's life.

Adolfo Aristarain's Un lugar en el mundo is an entertaining and well told story whose message, while not symbolic, might not be completely at surface for audiences to fully grasp without context. This is not accidental considering the situation Argentina went through in the seventies and eighties with a dictatorship banning artistic freedom.

I got to see this movie by chance after reading an interview to Cecilia Roth in La Nacion online newspaper. When asked for her favorite film, she mentioned "Un Lugar en el Mundo". This movie, as suggested in many places, it's as good (or better) as "La Historia Oficial", which is one of the best Argentine movies ever. Personally, I liked this one more. It's a very warm movie about the the relationships of the characters between themselves and with the place they inhabit. Certainly, the place to shoot it was chosen wisely. Argentinian pampa and Patagonia desert have a special appeal, very difficult to describe unless you visit them, some kind of special magic. The movie depicts also the strong gravitational effect that the Catholic Church has in Argentinian culture, mostly in the countryside. As you will see around the movie, besides the frequently shown green ford falcon, diesel train, horse carriage and old ambulance, the other constant are the gatherings in or around the church. A very strong recommendation if you liked "Un Lugar en el Mundo": "Historias Minimas". This is movie shares the same type of narrative it's about human relationships of a group of people in Puerto San Julian, an Atlantic town down south in Patagonia. The difference is that Un Lugar en el Mundo has a very heavy duty cast, all consummated actors and actresses. Historias Minimas only relatively known actor is Javier Lombardo, the rest are mostly first time plays.

I think, and most Latin American critics agree, that A PLACE IN THE WORLD runs neck and neck with the Oscar winning OFFICIAL STORY as Argentina's greatest movie ever. This movie shows the maturity that Argentine cinema began to reach after the mid 80's Oscar winner, mentioned above. The wounds left in Argentina by the events depicted in THE OFFICIAL STORY are still there. They are in fact a central theme of this film, which shows vivid signs of these scars beginning to heal. The film also brings Cecilia Roth back from exile (in real life as well as in the film), and cements her partnership with Federico Luppi as the 90's equivalent of Norma Aleandro and Hector Alterio, who were the couple of the 70's and 80's. In fact, Roth and Luppi and this film's director went on to collaborate on another landmark Argentine film of the 90's (MARTIN HACHE), and Roth and Luppi have continued to appear on the screen together since. This film may be their greatest collaboration, but their acting is not the only reason to see this film. Life in the interior of Argentina's provinces was never so well portrayed and explored. And challenges that Argentina and indeed, all Latin American countries face are well addressed. A must see.

It is not so often that one comes across a film whose every frame, every scene is magnificent. As it speaks about ordinary people with extraordinary will power to change things, Argentinian director Adolfo Aristarain's "A place in the world" can be considered a masterpiece as it is a film made with utmost honesty. The theme of good versus bad is handled by a luminary of talented actors namely Federico Luppi, Cecilia Roth and Jose Sacristan. They play roles of strong characters who have the ability to remain apolitical while harboring implicit political ideologies. Apart from some shots of urban locations, the entire film has been shot in a small but picturesque location. The notion of honesty is disappearing fast in modern times but this film shows its usefulness by showing how a young boy returns an important sum of money received as tip merely for not having earned it. The greatest reason why one should watch this film is that Adolfo Aristarain illustrates how a man's place in the world would be made only when men stop exploiting other men for their selfish motives.

After having seen Aristarain's excellent drama `Martín (Hache)' (1997) (qv) a few months ago, I was rather looking forward to this film coming up somewhere – anywhere – sooner or later, as I missed it ten years ago ……. I have also commented recently on `Las Huellas Borradas' (1999) (qv) with Federico Luppi, directed by Enrique Gabriel. You might think that seeing so much of this Argentinian actor in a comparatively short period of time would turn out a little tedious, if not boring. However he does have that attractively noble way of holding the screen, such that one tends to warm to him and look forward to the next time a film of his comes out. Again, Aristarain falls back on Cecilia Roth, an actress who always pleases me, and nowhere better than in `Martín (Hache)'. For `Un Lugar en el Mundo' (A Little Place in the World) Aristarain adds the Spanish actor José Sacristán, who, in years gone by, only made rather comical – sic – appearances in third rate highly forgettable films, but recently has been in a number of more serious rôles. The two young actors played natural, clean interpretations, very wholesome. Good directing here, especially.

Aristarain takes a story – his own very often – and knows what to do with it. His stories are very human, such that it is not difficult to really get in there with the characters, and in this film there is no exception to this rule. Interesting to note that the main theme touches on the same as in Gabriel's film seven years later up in the mountains of Asturias and León.

Lost somewhere in the middle of the great expanses of nowhere, but in fact is the province of San Luis to the west of Buenos Aires, just north of the true `pampa', some people play out their lives on the losing side in `a little place in the world'. The juxtaposition of the various characters is echoed by scenes of a horse-drawn trap-cart racing against a powerful diesel locomotive, as well as appearances by a late-fifties looking automobile.

Whereas `Martín (Hache)' is unquestionably a Hispano-Argentinian production, `Un Lugar en el Mundo' is almost totally Argentinian; Spanish and Uruguayan participation is minimal, apart from the presence of Sacristán as one of the actors. Aristarain is evidently the lance-point of contemporary Argentinian cinema production, and with this carefully toned story he does justice not only to his reputation and his actors' but also to Argentina itself. That is indeed a very worthy consideration.