A misunderstanding exists. In many film seasons and books about the New Argentine Cinema made in the 21st century, in Argentina and abroad, Fabián Bielinsky’s films tend to be excluded. Maybe because his two features are strongly narrative, maybe because Ricardo Darín stars in both of them. Or because their reach was massive. Or maybe Bielinsky is not included due to something that can cause a strange fear and rejection: the perfection of his work. One sees certainties in Bielinsky’s features. Of course there was doubt when planning those films: that is, work, some deep thinking about how to do things, how to write, how to shoot. Bielinsky was the artist capable of being (self-)critical, and worked hard on that before starting to shoot and edit, and also before finishing doing so. In part, that’s why he only made two feature films. And also because he died, at 47, in 2006. In Bielinsky’s cinema, there was and there is a capability to narrate, to thrill, to move, to amaze, to seduce with good techniques from classic films passed through the modernizing, daring filter of the American films from the ‘70s. And he did all that without ceasing to be Argentinian, with local ethos, logos and pathos. Argentinian cinema without the need to pose, which, this way, becomes universal cinema. And it’s new –it will always be– because they are classic films, those which renew themselves after each viewing. JPF
Esteban is a taxidermist who spent years planning –in his head– the perfect heist. When he is invited by one of his friends to a hunt trip in the Argentine Southern forests, he finds himself with an opportunity to have his longed obsession come true.