BootDigest Such a frustrating disappointment

Matialth Good concept, poorly executed.

Ceticultsot Beautiful, moving film.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

KissEnglishPasto ............................................................from Pasto,Colombia...Via: L.A. CA., CALI, COLOMBIA and ORLANDO, FL In English, when we say, "He was DISAPPEARED", we are using a term that came into English from Spanish. Over the past decades, countless thousands have suffered this fate in many South and Central American countries. Cautiva offers us a genuinely fresh take on this somber subject. We see the problem from the perspective of a teenage girl, Cristina Quadri, who one day, without the slightest warning, is yanked out of her class at school and taken to the office of a federal judge. He then proceeds to unravel her world by informing her that her real name is Sofia Lombardi and that her parents were "disappeared" by the dictatorship in power at the time of her birth in 1978. Furthermore, the people who she has called "Mom and Dad" her whole life, are, in reality, her abductors. At first, she is completely incredulous. In a most demanding role, Barbara Lombardo delivers an extremely intense and nuanced performance that is nothing short of awesome. To watch her gradually, step by step, come to terms with the stark and utter tragedy of her reality, is something very few actors could have done so convincingly! Cautiva leaves us contemplating just how profoundly life altering the truth can be. The film, of course, is in Spanish, and as to the quality or speed of the subtitles, I'm sorry, but I don't need them, so I can't offer an opinion.9*.....ENJOY/DISFRUTELA!Any comments, questions or observations, in English o en Español, are most [email protected]

CitizenCaine Thirty years ago, Argentinian dissidents were basically kidnapped, taken to concentration camps or clandestine prisons, and systematically eliminated. Oddly enough though, the children of the dissidents were taken and adopted by others, the adoptive parents sworn to secrecy. Years later, technology caught up with those affected in the form of blood tests, and the truth began to rear its head. This is a film about personal identity, what defines parenthood, and the decisions adults make which affect young lives.Barbara Lombardo stars as the confused teenager Christina/Sofia who can not bring herself to accept the circumstances thrust upon her. At first she only yearns to return to her "parents" until she discovers that even they were complicit in the circumstances surrounding her infancy. Her new family members attempt to make her feel comfortable and wanted, but Cristina/Sofia can not help but to research her past with the help of another friend who lives with a similar situation. Together they discover the uncomfortable truth behind all the confusion.First time director Gaston Biraben takes time telling his story, which may seem incomprehensible to outsiders unfamiliar with the background behind the events. He uses visual imagery to mark the conflicts and comparisons he uses to tell the story. Lombardo peering into a bedroom closet mirror may seem obvious, but he redeems himself with the nude shower scene with Christina/Sofia and her friend meeting face to face, suggesting that we're all naked when we discover the lack of identity in our background. It's a story told several times in other films, but it's one, like Holocaust themes/stories, that doesn't lose its ability to command our attention. *** of 4 stars.

R. Ignacio Litardo A political film in the higher sense of the term, it made me put into question many beliefs I had on my country. Isn't this one of the highest functions of Art!? What I liked most is that, although it obviously "has an agenda", I don't think they fall for "defending a political thesis at all costs". Such a common mistake of Argentine cinema on the "desaparecidos"... It's not without defects, thou. A bit "black and white", stereotyped characters. Let me elaborate: the "left wingers" seem to have no defects AT ALL, they're "full of love and high principles". And the "rednecks" are unlawful liers, violent, hypocritical and even ..."ugly"! They could also take bribes to "have all vices"... I mean, yes, characters could be more nuanced, but, given the low average of reality in most other films of the genre, I think this one deserves accolades. Some humour in any way would have helped, I guess. Just a personal opinion. Is there any worse thing than what happens here? I can't think of more than one (murder, in all its forms). I think even rape is "less bad"! Before turning this into a "moral philosophy", let me point at the scenes I liked most: 1) When Sofía and her expressive Spanish friend have this important talk about life, surrounded by soccer. Now as before, quenching everything that matters. The "paralelism" is challenger indeed! 2) Having Ives's "The unanswered question" as a musical score when... (I can't say more!) 3) Final scene (aerial take, Handel?) 4) The shower scene, between the two now women, "naked" in more than one sense 5) The brawl between the Quadris and Sofia. An one moment, Pablo starts treating Sofia as a stranger, almost an enemy. Suddenly, her "dear daughter Cristina" is dead, even before he hits her. (maybe a bit predictable I guess) 6) (you may laugh) "The nightmare". It made me realize true horror is not what Hollywood sells us, it's opening a door into the unknown (in her grandma's or aunt's house) and finding a glimpse of a life frozen in time (her dead mother's). The film luckily avoids many pitfalls. Has only one very unbelievable moment, when a nun's teen escapes from Tribunales, from the same savvy cops who reduce the also hard boiled Pablo Quadri. Tribunales' zone is very WELL FILMED, feels absolutely real to somebody like me who's hanged around there very often. Retiro, the trains, both schools... It's a very Argentine film! By the way, found it great how she "downgraded" economically from her rather posh house in the suburbs to her grandma's "dark old house" & derelict Citroen! The contrast between the nun's school, which is not luxurious but looks like when compared to the truly depressing state school! I was surprised about the performances! Have to say I didn't expect much from this film, for a) I don't like Argentine cinema b) the subject is normally a sign of a tsunami of clichés c) didn't have much faith in Lombardero. When I saw "Hugo Arana" I feared the worst :) I had to gulp my prejudices, they both acted surprisingly subduedly, without overemphasis. I had my "lesson", they taught it to me. I would have liked to know what was being played during the film, I loved the usage of classical music throughout the film (not in just a couple of broken scenes). My kudos to the director, of whom I knew nothing, and who (thanks IMDb!) has been a "sound editor" in mainstream American cinema! Well, I hope he continues to surprise us!

ilpintl A dazzling directorial debut that is set in 1994 Argentina, but goes back to the early 80's when thousands of political dissidents were "disappeared". A fifteen year-old girl is plucked out of class one day at the summons of a judge, who tells her that the couple she takes to be her parents had in fact adopted her. Her biological parents were young architects who had been "disappeared" for criticizing the political regime of the time. The judge directs her to live with her biological grandmother and new family. Feeling she can no longer trust anybody, she begins, for her peace of mind, an investigation of her own. Played with an extraordinary gravity by the luminous Barbara Lombardo, the young girl meets others like herself and arrives at shocking truths, which it would be wrong to reveal here. Given the documentary aspects of the film (it addresses an ongoing unresolved situation, where thousands of young adults, born during this tumultuous period of Argentine history, continue to search for their birth parents), it goes beyond being just a political thriller. Despite being, at times, unevenly paced (this is, after all, a directorial first-attempt), it is a splendid examination of relationships and the doggedness and resilience of the human spirit.