A refreshing twist on the old "dumped character rises above depression and starts learning valuable life lessons, then finally finds love again, only this time real and mature" tale. This small gem of a movie starts in that direction, then gradually starts steering away from cliché.
The movie's biggest accomplishment is the title character's depiction: like in real life, neurosis and melancholy are seldom neat or cute, and watching Soledad's evolution has the strange allure of a train wreck in slo-mo, with the added bonus of hilarity and eerieness at regular intervals.
Inés Efron doesn't stray from her (self-imposed?) typecast persona, yet delivers a powerful performance. Fabián Vena is comfortable in his shoes and brings soul and spark to his Nico. The magnificent Ricardo Darín dazzles with his simplicity and depth.
In short, another example of why Argentine cinema is alive and kicking, and that there is a happy medium between the revolting crass commercialism of Francella or Dibu and the tedious condescending pretentiousness of Lucrecia Martel or Adolfo Aristarain.
The movie's biggest accomplishment is the title character's depiction: like in real life, neurosis and melancholy are seldom neat or cute, and watching Soledad's evolution has the strange allure of a train wreck in slo-mo, with the added bonus of hilarity and eerieness at regular intervals.
Inés Efron doesn't stray from her (self-imposed?) typecast persona, yet delivers a powerful performance. Fabián Vena is comfortable in his shoes and brings soul and spark to his Nico. The magnificent Ricardo Darín dazzles with his simplicity and depth.
In short, another example of why Argentine cinema is alive and kicking, and that there is a happy medium between the revolting crass commercialism of Francella or Dibu and the tedious condescending pretentiousness of Lucrecia Martel or Adolfo Aristarain.