La cordillera: an ambitious story that grows on the dark side of power
In his third feature film, “La cordillera”, director Santiago Miter hands the presidential band to Ricardo Darín and fills him with sinister fantasies
The third feature film by Santiago Miter (El estudiante, La Patota) is, in many ways, his most ambitious, complex and round film. It is not easy to get involved with the presidential institution in a country where there is no film tradition about it.
Hernán Blanco, who plays Ricardo Darín (and who, perhaps, could only interpret him) is not based on any agent of real life; Or, if it is, is a compendium of forms, uses and customs of several personalities intertwined.
Already the first scene, with the laborious access to the Casa Rosada by an outside technician, and the later air travel of the presidential entourage – with its slightly ominous signs scratching the curtain of reality – Miter and its co-writer Mariano Llinás draw features Evident and others hidden, underground. The excuse is a Latin American summit in a five-star hotel, amidst the majestic Chilean mountains, where an important oil pact between nations must be defined.
But, little by little, the realistic layer begins to pierce with the arrival of the daughter of Blanco (Dolores Fonzi), and the secrets and memories (or are not they?) That begin to surface allow the arrival of The fantastic.
With an internationalist minority cast that includes Argentineans Erica Rivas and Gerardo Romano, Spain’s Elena Anaya, Chilean Paulina Garcia, Spanish-Mexican Daniel Giménez Cacho and American Christian Slater (co-star of another of the film’s great sequences) The mountain range, which had its debut in the Official Competition of the Cannes Festival, leaves aside the possibility of transforming into a simple fictional record of power and is encouraged to draw – with style, intelligence and formal conciseness – the silhouette of the sinister. Power, money, madness and a bit of hypnosis in a movie with an obvious aftertaste to Hitchcock.