This isn't a dour dramatisation of Argentina's darkest hour, however. The eclipse that briefly turns the screen red suggests a subtler shading that reveals the influence of Claude Chabrol, Alejandro Jodorowsky and Pablo Larrain on a scalpel-sharp dissection of the despicable charm of the bourgeoisie. Indeed, there are moments of acidic humour, as a troupe of American cowboys gets stranded after participating in a rodeo and Dieguito (Alfredo Castro), a Chilean cop who has become a TV celebrity, does his best Columbo impression. There's even something droll about the fact that the noirish conspiracies in which balding, moustachioed lawyer Claudio (Darío Grandinetti) becomes entangled are played out in the glare of the desert sun.
The Nightingale Review
Excellent though the performances are, the ensemble is somewhat upstaged by Naishtat's creative team. The muted colours in Julieta Dolinsky's production design have a tonal potency that is reinforced by Vincent Van Warmerdam's insinuating score, which follows Pedro Sotero's stealthy camerawork and Andres Quaranta's pugnacious editing in taking its cues from the aesthetics of ‘70s arthouse cinema. The cumulative effect is to disconcert and remind us how easily the everyday can spiral into the nightmarish.
"The Theory Of Everything." Eddie Redmayne met with Stephen Hawking only once before filming. "In the three hours I spent with him, he said maybe eight sentences," recalls Redmayne. "I just didn't feel like I could ask him intimate things." Therefore, he found other ways to prepare for the role. He lost about 15 pounds and trained for four months with a dancer to learn how to control his body. He met with 40 ALS patients, kept a chart tracking the order in which Hawking's muscles declined, and stood in front of a mirror for hours on end, contorting his face. Lastly, he remained motionless and hunched over between takes, so much so that an osteopath told him he had altered the alignment of his spine. "I fear I'm a bit of a control freak," Redmayne admits. "I was obsessive. I'm not sure it was healthy."
With each subplot reinforcing the simmering sense of unease, this compelling recreation of a pernicious period soberingly exposes the ease with which morality can become a casualty of human nature.