Darío Grandinetti

Andrea Frigerio

Alfredo Castro

Laura Grandinetti

Claudio Martínez Bel

Susana Pampín

Rafael Federman

Diego Cremonesi

Rudy Chernicoff

Mara Bestelli

Marina Gurman

Daniela Deglise

Eduardo Sierra

Jean-Philippe Rameau

Simon Apostolou

Mikel le Roy

Jamal Zeinal Zade

Florencia González Rogani

Julia Bastanzo Paximada

Emmanuel Chaumet

Mathilde Delaunay

Martin Delzescaux

Pedro Sotero

Dolores Giménez

Fernando Ribero

Nora Lia Alaluf

Frederic Schindler

Germán Naglieri

Esteban Trivisonno

Eduardo Pires de Vasconcelos

Maria Calcagno

Marleen Slot

Ingmar Trost

Ana Inés Berard

Maíra Iabrudi

Victor Vasini

Nicolau Saldanha

Iair Michel Attías

Rachel Ellis

Dan Wechsler

Jam Monti

Tomás Pernich

Benjamín Naishtat

Vincent van Warmerdam

Andrés Quaranta

Bárbara Sarasola-Day

Julieta Dolinsky

Pedro Sá Earp

Federico Eibuszyc

Marcos Sanzano

Drama

Mystery

Thriller

Rojo

PUCARÁ cine

Bord Cadre Films

Desvia

Ecce Films

Sutor Kolonko

Le Tiró

Cine Jempsa

INCAA

Cine Argentino

Argentina

Belgium

Brazil

Germany

Netherlands

France

Switzerland

Español

Danybur

Through the story of a lawyer (led by Darío Grandinetti) facing an unexpected event, Benjamín Naishtat articulates a powerful political policeman and a true sociological essay on the miseries of a town in an unnamed province of Argentina in 1975 and its apparent normality at a turbulent stage in its history. And with great cinematography.

It is 1975. Claudio (Darío Grandinetti) is the Doctor, a prestigious lawyer from a town in an unnamed province of Argentina, married to Susana (Andrea Frigerio) and with a teenage daughter. A tense incident with a stranger (Diego Cremonesi) in a town restaurant will be the first in a series of events that will call into question the Doctor's calm.

Actually, the first scene of the film is another, a powerful fixed shot over a house, in a scene of enormous eloquence. For those who do not know, or do not remember, in 1975 Isabel Perón ruled and Argentina was already devastated by the kidnappings and murders of the Triple A (Alianza Anticomunista Argentina), a parapolice organization linked to the Government, in a true advance of what that it would be state terrorism established by the civil-military dictatorship that overthrew Isabel in 1976.

Red is a remarkable and disturbing film. Its plot suffers an apparent drift by situations that seem disconnected but that in reality are integrated into a powerful and implacable X-ray of an era: violence (sometimes left out of the field), disappearances, dispossession, looting of the victims, the swindle, the silence, the imposture, the impunity. But all under a layer of apparent normality and within the framework of a province intervened to "restore" it.

Naishtat's film could be defined as a sociological and political black cop. Each scene is a necessary note (and never underlined) on the general picture, including the successful scene on a beach in Mar del Plata.

From the formal point of view, the filmic recreation of the time is remarkable, with that tone between faded and sepia that dominates photography and its red titles. There is a great use of still shots and beautiful wide shots in desert locations.

Grandinetti's very good performance, while the apparent over-acting of a character who later appears in charge of Alfredo Castro (the actor from I'm afraid of a bullfighter), also has its justification.

The school device could not be absent in this story, when a teacher (Susana Pampín) rehearses with Claudio's daughter and other classmates the dance Los Salvajes from the opera Las Indias Galantes by Rameau (a luxury of the soundtrack) for an act school and what he says to put them in position for the scene, in what constitutes a disturbing stagin

Rojo

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