The past can become a huge problem when he insists not to get over it. We must be aware of the changes that life imposes on us: contract friends become strangers as soon as they meet again, life becomes an adventure completely out of control, and to culminate in the whole process, try to understand why all this mismatch leads to madness, violence and crime. Not out of desire for scandal and much more of having to say things that would normally suffocate, some films are being made without much idea of how they will come to the end – and it is precisely at this point that audiences enter, releasing frank opinions about some of the products that are considered geniuses.
Argentine cinema continues its upward trajectory, presenting films that flatly reject the established. One of the more recent pioneers of Argentine cinema, Nicholas Goldbart uses a somewhat archaic but effective argument in order to bring out the idea of complete irrationality behind the impressions of the central character of “The KEOP/S System” (2022), who is not content with being just a puppet in a dark show. Goldbart bets on delirium in order to pay homage to ’80s classics that immortalized, consciously or unintentionally, delirium, especially that stature unabashedly touched by violence. Works such as “A Nightmare on Elm Street” (1984), by Wes Craven (1939-2015), leave their mark in details such as the portrayal of Lucio Bonelli and Diego Bolleri, which are predominantly red, as if the characters had never inhabited a parallel universe in which they The atmosphere is made of that color. Gradually, the spectator manages to break through the bubble and merge with such a unique context, understanding, with some difficulty, what the intention of the cursed figures that develop in a circle, leaving the plot a little heavy, even a little confused, but allocating some elements and introducing many others In terms of moving the film at an unusual pace, an eternal acceleration and curb extending into the narrative itself until the end comes, at which point the director hints that the cycle is starting over.
Fernando Blansky has a stressful, peaceful routine. Fernando, the screenwriter sacked by Daniel Hendler, is enjoying the damned blessing of being able to spend a week dressed in the same clothes, and the scattering of ideas for a script that never appears. While his luck doesn’t change, Fernando takes his daughter to school, separates the bills to be paid, follows up on comments on the latest movie news on Facebook, writes some insults, and is protected by the pseudonym, Sergio Israel, the comic self defended by Alan. Sabbagh, while expecting the goodwill of Osu, a character of Martin Garabal, to analyze his latest text. As the bear friend distances himself from him without bothering to think of an excuse, the protagonist sees his time, already so plentiful, extending even further. In one of these, after saying goodbye to his wife, Giulietta – who is Violetta Ortisberia – goes out for a walk. That’s when Goldbart and Germán Servidio’s screenplay presents the event that justifies two hours of a well-organized puzzle, which thrusts him into a whirlpool of violence that stops him without warning.
The scheme of the financial pyramid that seduces the central character, to which the title refers, explains much of Fernando’s uncommunicativeness, and his basic naivety in everything. Once he accepts to be part of the plan, which is considered fraud in many countries, he agrees that all of his steps are scanned down to the millimeter and assumes that the beast he has always been, is eager to leave the cage he is forced to stay in. Elements such as a large poster of Michelangelo Antonioni’s “Blow Up” (1912-2007), arranged around the protagonist’s apartment, reinforce this sense of helplessness, and are only satisfied in the corridors in which Hendler and Sabbagh co-star, a very happy double taken with the emphatic direction. for Goldbart.
Following a thread of his own, “The KEOP/S System” explains disturbing metaphors about the concept of the need for merciless monitoring of everyone at all times, a fact that no one escapes from in the psychotic age we live in. The message the movie sends, not wanting to pedant, but somewhat nostalgic, is that life was so much better.
Movie: KEOP / S system.
direction: Nicholas Goldbart
SpeciesAction / Comedy / Mystery
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