Mariano Gonzalez’s dirty single-father play picked adult a International Critics’ Award during Argentina’s Mar del Plata fest.
The shade of a early Dardenne brothers’ work floats over Mariano Gonzalez’s tough, gaunt entrance Balloons, that fuses a impersonal documentary impression with romantic punch in revelation a story of a masculine forced to face adult to fatherhood. Entirely eschewing tenderness and featuring a executive impression who in his inarticulateness is easier to sympathize with than to like, this is one of those restrained films where a protagonist cries usually once, yet when it comes, it’s massive, and cathartic for impression and assembly alike. Both theme matter and diagnosis are challenging, yet Gonzalez’s attentiveness to a truth of a film’s romantic undercurrent make him a executive and performer to watch. Festival sidebars with an eye for new Latino talents could good entice Balloons to their party.
Cesar (Gonzalez, a museum executive creation his film entrance here) has been in rehab for dual years and is now operative in a run-down balloon factory: Much time is clinging to a fascinating business of how these objects, maybe too apparently symbolic, are made. (Rarely in cinema can celebration balloons have been employed in such a downbeat way; one early stage has Cesar’s partner checking them as he tonelessly repeats “punctured … punctured …” as yet it were a criticism on a characters’ lives.)
Taciturn and rough-hewn both physically and emotionally, wearing an unexplained injure on his left cheekbone like a fight wound, post-rehab Cesar keeps himself furiously bustling for fear of meditative too much. When not creation balloons, he’s angrily exorcizing mixed demons by doing crossfit to a sound of trounce steel or unresolved out and joylessly sleeping with barwoman Laura (Jimena Anganuzzi), who seems usually rather reduction dull than he is.
One of a things that Cesar doesn’t wish to anticipate is that he has a 4-year-old boy, Alfonso (Alfonso Gonzalez Lesca, a director’s real-life son), whose mom died in a automobile pile-up and who’s now being taken caring of by her parents, one of them being The Blonde Guy (Roberto Jose Gonzalez, Gonzalez’s real-life father, who sadly died shortly after filming). Cesar is told that, since a aging integrate can no longer lift Alfonso, he’ll have to take him back. Cesar creates a pitiable try to convince Laura that he competence assistance him out yet is deserted with a elementary “No,” and decides to palm Alfonso to a rich integrate for adoption.
When his father-in-law hears about this, he walks adult to Cesar and wordlessly punches him in a jaw, violation it: This is a film’s pivotal scene. It is a criticism on Cesar as a father and, meaningful he’s in no psychological or amicable state to lift a child, he’ll spend a rest of a film ripped about how to hoop it.
Hand-held camera from Argentine conductor Fernando Lockett is in-your-face, and indeed in a characters’ faces as well, concerned as it is to register each flutter on a facilities of a terminally unresponsive Cesar so as to supply some kind of beam to what this secretly really frightened masculine is indeed thinking. Like everybody else in a movie, Cesar is incompetent to clear what is function to him, and it falls to a spectator to simulate on a vital issues of fatherhood and shortcoming that a film raises. A normal unreconstructed male, Cesar had presumably been awaiting his mother to lift Alfonso, and is utterly confused for any other outcome. The film’s large “if” is either he’ll finally be means to take this neglected exam of his ability as a masculine and as a father.
Gonzalez does excellent work in rising to a self-imposed plea of solemnly phenomenon what is function behind his character’s hard masquerade as he struggles to make clarity of it all. It’s a tranquil and bold opening of good intensity, charity few crumbs to a spectator in a approach of easy identification. The film is indeed small some-more than a rather unpleasant impression study, and some scenes -— quite those in semi-darkness -— do drag on for too prolonged as Cesar puffs interminably divided on one of a cigarettes he always seems to be smoking. Also on a downside, a small too most bid is compulsory to make clarity of a mixed tract ellipses, suggesting that notwithstanding the occasional longueurs, Balloons could have been blown adult a small bigger but exploding.
Production companies: La Cueva del Chanco, Los Salvajes
Cast: Mariano Gonzalez, Alfonso Gonzalez Lesca, Juan Martin Viale, Jimena Anganuzzi
Director-screenwriter: Mariano Gonzalez
Producers: Mariano Gonzalez, Paolo Donizetti, Juan Schnitman
Executive producer: Ivan Granovsky
Director of photography: Fernando Lockett
Production designer: Julieta Dolinsky
Costume designer: Paola Delgado
Editors: Santiago Esteves, Delfina Castagnino, Mariano Gonzalez
Sales: Kino Bureau