Karry Best movie of this year hands down!

Platicsco Good story, Not enough for a whole film

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Edgar Soberon Torchia It seems the «Jewish experience» —that is, being of Jewish origins, and living "jewishly" according to this or that dogma— varies from country to country very much. I was born in a country (Panama) where almost all Jewish persons are economically powerful, do not mix with the average citizen, and live mostly for themselves behind tightly-closed walls. There are, of course, exceptions; but I had to travel abroad to have a different experience, even to have Jewish friends and lovers, and discover that not all are so closed to the humanity living close to them, as many that I have met in Panama. When I saw "El abrazo partido", one of the most endearing Latin American films that I had seen in years —besides another beautiful Argentine film called "El perro", announcing what was just about to come: a long list of new, remarkable filmmakers as Lucrecia Martel, Israel Adrián Caetano, Lisandro Alonso, and many others—, I was very well impressed and happy to see this different side of what it is to be a Jewish person in Latin America, because I could identify very much with them. Most of the times the cinematic Jewish experience comes from American filmmakers, and they keep on telling the same stories, or give them the same approach (exceptions admitted). For instance, with the weight world cinema has given to the Jewish drama during Second World War —and I am not by any means diminishing it—, I loved to see normal, beautiful people leading their everyday life in this motion picture, directed with both the brain and the heart, with top performances by Daniel Hendler, Adriana Aizemberg, Jorge D'Elía, and Rosita Londner as the grandmother, as well as all the supporting players. I can't explain how people can reduce the value of a motion picture, just because a few of the shots were not done with a tripod! Where have they been all these years? Camera movements were even very popular in the 70s. A movement done with the camera on the operator's shoulder, has a strong, different value to another one done with a steadicam! A very good movie, just as good as those I have enjoyed, done by sensible filmmakers from Israel that have shown me the best parts of their culture.

Ryan Centner I have seen the movie several times now, and keep loving the very porteño lines, the perfect way in which the filmmaker captures the unique setting of Once (and a little of Abasto), as well as the tone of 2002/2003 there in Buenos Aires. The delicate portrayals of emotion and spirit are heart-rending and hilarious together. For anyone who knows Buenos Aires beyond the bullshit vended to you by some tourism operator, this film will delight you. It also has enough appeal and quirkiness to charm broader audiences that have some curiosity about slice-of-life films from elsewhere. If you have seen Berman's film "Esperando al Mesías," many people will look familiar in this movie, but it's only the actors, not the characters who are the same, and even though only a few. Like that other movie, there is also much emphasis on Argentine Jewish everyday life, but not in a way that is insular at all -- bringing in, instead, the rest of life that can combine effortlessly or create the conflicts and commotions that keep life and culture vibrant. Berman also seems to show a strength across his movies in grappling with the importance of longer-standing histories in their very simple, quotidian upcroppings. In all, an excellent film by an excellent filmmaker.

jotix100 "Abrazo Partido" is one of the better Argentine films that have reached us. Not having a market in the USA, if they are not shown in a film festival, they are not seen at all. The director, Daniel Burman working on the screen play with Marcelo Birmajer, shows he is a talent to be reckoned with.The movie presents us with a small mini mall that one encounters all over Buenos Aires. The story is about all the operators of the tiny shops in the complex, but focuses on the Makaroff family. Elias Creations is operated by Sonia, a woman whose husband has deserted her and the two small sons. Elias, the husband has gone to Israel to fight in one of the wars and never returned. His memory looms large, especially in the case of Ariel, who secretly loves him, but resent the abandonment of the family.The camera work is incredible. The director gives us an excellent idea of the area of the neighborhood that at one time was dominated by the European Jews that emigrated to Argentina. Daniel Hendler, does a wonderful job in portraying Ariel, the young man who wants to do just the opposite of what his family did: return to Poland. The family left the horrors of their country by settling in the friendly atmosphere that Argentina offered at the time. Now, during a difficult time, the grandson of the original family wants nothing of his precarious life. His dream is to try his fortune in Europe, Poland, only being the excuse for getting an European passport that only his grandmother can provide, having been born there.Adriana Aizemberg plays the mother, Sonia. Ms. Aizemberg is wonderful as the mother who is so full of life and suddenly sees the world, as she knew it, coming apart. The grandmother, Rosita Londner, is also appealing.A new talent emerges in Argentina.

vitariz do you think your town is the only cosmopolitan place on earth? do you have issues with your mom? has your dad been absent for some time? is your brother a loser? this portrait of a man in crisis is funnily descriptive, sharply accurate and surprisingly moving. I just loved it! excellent camera, screenplay, direction and acting. the leads are outstanding and the secondaries superb.Daniel Burman and Daniel Hendler have reached the perfect timing to expose contemporary idiosyncrasy in the finest shape.hats off!