The evils of society at large, are examined by Argentine director Pablo Trapero. He sets his story in the "favela" like shantytown that sprouted near an abandoned huge project for a hospital that was started decades ago in Buenos Aires, seen today as a typical "white elephant", an useless structure that houses today the marginalized inhabitants to the nearby slum. Drugs are a lucrative business within this ghetto. Assault weapons and fire arms can be found almost everywhere. Add all that to the precarious living conditions and this sort of hell on earth is not even fit for anyone to live.
There is a prologue to the story. Father Julian, who has met Nicolas as they were studying for the priesthood, goes into the Peruvian jungle to rescue his friend from the massacre which he miraculously survived, carrying the guilt for not having died himself. Julian brings Nicolas to Buenos Aires to the church where he is tending to the poor inhabitants of the shantytown. Unknown to Nicolas, Julian has been diagnosed with a strange neurological disease, which is never mentioned. In a way, Julian has reached to Nicolas to be his successor, once he is not around.
Nicolas encounters all kinds of human tragedy in the area. A young social worker, Luciana, is another source for bringing hope to the desperation of the people in the shantytown. It does not take long before Nicolas realizes the attraction he feels for the young woman, who also has fallen passionately in love with the young priest. As was rages within the confines of the slum town, bringing tragedy into the area. Julian has to do wonders in order to feed the needy while silently suffering the disease that is robbing his life.
The screenplay was a collaboration by the director, Martin Mauregui, Alejandro Fadel and Santiago Mitre. The idea is not exactly new, as this has been the subject of movies of such impact as Fernando Meirelles' "City of God" as well as others that have examined the misery, despair and cruelty found in places such as the one depicted in this film. Where Mr. Trapero succeeds is in the handling of the cast. Ricardo Darin is a natural whose work gets better all the time. Jeremie Renier has some good moments, although he seems a bit out of place. Martina Gusma, who is Mrs. Trapero in real life, makes the most of her Luciana.
Guillermo Nieto's cinematography is crude, something that was required to make the movie work. Michael Nyman's film score does not go well with the images on the screen.
There is a prologue to the story. Father Julian, who has met Nicolas as they were studying for the priesthood, goes into the Peruvian jungle to rescue his friend from the massacre which he miraculously survived, carrying the guilt for not having died himself. Julian brings Nicolas to Buenos Aires to the church where he is tending to the poor inhabitants of the shantytown. Unknown to Nicolas, Julian has been diagnosed with a strange neurological disease, which is never mentioned. In a way, Julian has reached to Nicolas to be his successor, once he is not around.
Nicolas encounters all kinds of human tragedy in the area. A young social worker, Luciana, is another source for bringing hope to the desperation of the people in the shantytown. It does not take long before Nicolas realizes the attraction he feels for the young woman, who also has fallen passionately in love with the young priest. As was rages within the confines of the slum town, bringing tragedy into the area. Julian has to do wonders in order to feed the needy while silently suffering the disease that is robbing his life.
The screenplay was a collaboration by the director, Martin Mauregui, Alejandro Fadel and Santiago Mitre. The idea is not exactly new, as this has been the subject of movies of such impact as Fernando Meirelles' "City of God" as well as others that have examined the misery, despair and cruelty found in places such as the one depicted in this film. Where Mr. Trapero succeeds is in the handling of the cast. Ricardo Darin is a natural whose work gets better all the time. Jeremie Renier has some good moments, although he seems a bit out of place. Martina Gusma, who is Mrs. Trapero in real life, makes the most of her Luciana.
Guillermo Nieto's cinematography is crude, something that was required to make the movie work. Michael Nyman's film score does not go well with the images on the screen.