Evocative movie dealing with double identity and its converse, different people sharing appearance and personality traits.
The first situation applies to Juan, the protagonist, kidnapped by the military at an early age from parents later disappeared; his second identity (with a false name and birthdate) is provided by the family that adopted and raised him. The psychological consequences are seen on screen and further illustrated by one of the characters reading the short story El Cautivo (The Captive) by Jorge Luis Borges. The tale describes a parallel situation, a son of Scottish immigrants kidnapped by Indians in Buenos Aires province in the 19th. century and later returned to society. Not wholly returned, however; the second identity, although false, is difficult to shake off.
The converse situation involves Delfina - Julia, and I see two interpretations. The first is in fairy tale territory. A quote attributed to Montaigne at the beginning of the movie (incompletely translated in the subtitles) and a scene where two scientists propose gene modification by life experiences (a sort of Lamarckian evolution) are key clues. In the second interpretation, somewhat less fantastic, the quote and the scene are red herrings and one should instead look to The Prisoner of Zenda for clues.
There are some references to the realm of fantasy where the movie lives. Juan and a cousin write movie scripts that, as Juan remarks, are based on "invented hypotheses," and young Delfina is fond of the fairy tale in Mozart's Magic Flute, briefly shown on a puppet stage. There is also a double meaning in the title; "Hija única" means "only daughter" but also means "unique, irreplaceable daughter."
Direction by Santiago Palavecino is fluid with unobtrusive use of hand-held camera. Haunting cinematography in dimly lit interiors, and exteriors under wintry, cloudy, melancholy skies. Acting very good all around. Inspired use of Prokofiev's Romeo and Juliet as background music.
A quality film. Keep your attention up, since essential information is sometimes conveyed in short scenes and dialogues. This is Palavecino's sixth credit as a director (counting series and TV movies). Unfortunately, this seems to be the only movie available from the rental services.
The first situation applies to Juan, the protagonist, kidnapped by the military at an early age from parents later disappeared; his second identity (with a false name and birthdate) is provided by the family that adopted and raised him. The psychological consequences are seen on screen and further illustrated by one of the characters reading the short story El Cautivo (The Captive) by Jorge Luis Borges. The tale describes a parallel situation, a son of Scottish immigrants kidnapped by Indians in Buenos Aires province in the 19th. century and later returned to society. Not wholly returned, however; the second identity, although false, is difficult to shake off.
The converse situation involves Delfina - Julia, and I see two interpretations. The first is in fairy tale territory. A quote attributed to Montaigne at the beginning of the movie (incompletely translated in the subtitles) and a scene where two scientists propose gene modification by life experiences (a sort of Lamarckian evolution) are key clues. In the second interpretation, somewhat less fantastic, the quote and the scene are red herrings and one should instead look to The Prisoner of Zenda for clues.
There are some references to the realm of fantasy where the movie lives. Juan and a cousin write movie scripts that, as Juan remarks, are based on "invented hypotheses," and young Delfina is fond of the fairy tale in Mozart's Magic Flute, briefly shown on a puppet stage. There is also a double meaning in the title; "Hija única" means "only daughter" but also means "unique, irreplaceable daughter."
Direction by Santiago Palavecino is fluid with unobtrusive use of hand-held camera. Haunting cinematography in dimly lit interiors, and exteriors under wintry, cloudy, melancholy skies. Acting very good all around. Inspired use of Prokofiev's Romeo and Juliet as background music.
A quality film. Keep your attention up, since essential information is sometimes conveyed in short scenes and dialogues. This is Palavecino's sixth credit as a director (counting series and TV movies). Unfortunately, this seems to be the only movie available from the rental services.
