Regardless of the summer temperature, the mind of the average person begins to repeat and dissolve in the health of the general heat, the “Virgin of the quarry lake” is permanently placed to this permanent degree. You can feel slow and sweaty adhesion to each surface-or simply for itself-in the feature of the Argentine director Laura Casabi for the first time unusual, and the first time of the type: a possible summer romantic romantic that vibrates over and over again, strange storms of violence. The story of “Carrie” from the intense adolescence that enlarges the devastating chaos and a piece of bad diarrhea reaches the point of collapse from public turmoil, “Al -Muhajra Lake” bears the smart and conscious seal of the scriptwriter Benjamin (The famous director of “The Director of” Rojo “AMD” PUAN “), although Casabé brings a distinctive feminine look to the materials.
Quietly frightened in her studies for the smoothness that is allocated either for reasons of selfish desire or collective rebellion, and touched with magic realism that does not work in expected ways, the “Virgin of the quarry lake” qualifies as a horror film of a kind, although it may disappoint any viewers looking For more excitement in the grassy type. It requires an accurate position by the programmers and potential distributors after the first show in the Sundance’s World Cinema competition, but it has a worship element if the audience finds it. The literary treasury of the source author, Mariana Ennesser, whose new Gothic stories have been combined with Naishtat’s adaptation, in this regard.
It is the summer of 2001, and the mood in Argentina is fever and tense, and people’s dissatisfaction with their government, constructed steadily towards national riots in December of that year. The power outage is a daily occurrence, while strangers quarrel in the street: the film opens to one of the unexplained conflict, and determines the volatile irregular behavior tone. In the dusty suburbs of Buenos Aires, where she lives with her grandmother (Louisa Marylas) after her mother has long fled to Europe, a teenager who does not calm down Natalia (the newcomer Dolores Olvro) is more than one operator with a personal endeavor – Diego (Agstein Soussa) Boy a little boy with mocking eyes and a tattoo on his neck. Natalia will definitely like to win it. Likewise, her friends Josephina (Isabelle Pragamonti) and Maryilla (Candela Flores), which emphasizes the mode of alpha guaranteed.
Summer is young and Natalia looks strong. Without a lot of nostalgia for nostalgia, Casabi evokes the bases and rituals of teenage social media at the end of the century, where chat rooms – that are not accessed on phones but in crawling internet cafes – are wet areas of configuration, while an invitation to accommodate And listen to CDs, if not one bases, at least somewhere on the diamond. Just as the seduction strategy in Natalia works along, along Silvia (Fernanda Eshiferrera), a type of cold girls in her twenties with alleged rock connections and strange tales of a year in London, and Diego’s head turned immediately. Natalia barely calmed her most from the love of Silvia gestures of friendliness towards the entire group, because she introduces them to a poetic, poetic lake made for the slow afternoon period of sunbathing and revenge. You will regret her generosity.
Building jealousy in Natalia is the tension driving force in a mood that never declines over a period of 95 minutes, despite the relative lightness of planning. Lust and anger throughout the film are manifested in accidents every day and are concerned: a kind of negative moves, perhaps, not the least in the event of a terrible accident in the run that you witness only or see. In a moment when every person in the country is practically on the edge of the abyss, the levels of their supernatural aggression have not been easily identified. Performance differences installation in Olvro, entitled “Teenagers”, with dark reserves of anger, are all jammed behind the behavior of medium girls.
Casabi’s trend likely balances observations on the times-hormonal heights and insults are invoked in early crushing that consumes a large lightness and sensitivity-with a strange and more strange sense of the world sliding outside the system. The shapes of the sun of the sun from the lens of Diego Tenorio deals with a live summer storm, as the film’s rhythm picks up short and short circuits: “The Virgin of Lake Al -Muhajra”, a sticky heat at the present time, it is not clear what is more seized.