The Secret In Their Eyes

Argentina. Retired lawyer Benjamin Esposito (Darìn) visits his old colleague Irene Hastings (Villamil) with a manuscript he has written about ‘the Morales case’, a 1974 rape/murder which has had repercussions ever since. Talking through the mystery, Esposito reveals what he has found out, but also his own long-suppressed feelings.



The Oscar for Best Foreign Language film is often controversial as heavy-hitters are shoved aside for odd, often political choices and heads get scratched all round. Last year, Germany’s The White Ribbon and France’s A Prophet seemed to be neck-and-neck for the top spot, but an unheralded Argentine thriller crept in and walked off with the statuette. Now, we get to see it, and cynicism about the voters of Beverly Hills evaporates because this is as enthralling a piece of cinema as the competition with the added bonus of having a heart. The Secret In Their Eyes feels like a world-class episode of Law & Order, set in a fascist state where bringing a culprit to justice isn’t easy and the government’s notions of right and wrong override petty concerns like who got raped and beaten to death.

It’s a profoundly human story, with a superb lead performace from Ricardo Darìn (the older con-man in Nine Queens) as a dogged yet hangdog investigating lawyer with a lifelong crush on his upper-class boss.


Written and directed by Juan José Campanella, from a novel by Eduardo Sacheri, this is a long, confident film. Its first act sets up a horrible crime, and shows how the hero’s sense of obligation to the victim’s husband (Pablo Rago) — as much for his ability to remain selflessly in love with the idealised dead woman as for any sense of duty — gets him in trouble when he refuses to prosecute two low-class workmen who have been battered into a confession.

A likely culprit is identified, loitering in the dead woman’s family photos, and the trail goes cold until a drunken colleague makes the vital deduction that a killer can change his name more easily than the football team he supports. This sets up a breathtaking, apparent single-take shot which outdoes Brian De Palma: a stadium is seen from above on match night, and the camera moves into the stands, among the throngs, throughout the concrete bowels and out onto the pitch — with the game still playing — as cops close in on the suspect.

The film seems to wrap up its story in mid-point, but there are stunning reversals, one of the scariest (but most understated) lift scenes ever shot, a telling ambiguity, more tragedies and two astonishing endings left...


Cast
Ricardo Darìn
Soledad Villamil
Pablo Rago
Directors
Juan José Campanella

This was given a 5 star. I gave it a 3.75. I realise I need time to reflect on things before making a fuller judgement. I enjoyed the film - a lot. AT times I thought the love element between Esposito and Irene was unnecessary but actually it was the pivot of the film. He knew the look in the eyes because he looked that way himself. Longingly. I'm not sure whether it was necessary for the happy ever after situation between them in the end but it did make me feel happy. All that agony for such an extended period of time and then they finally decide to give it a go. Both with so many years of lack of fulfillment and eventually there is something for them to enjoy. Perhaps it's my own hope that makes that good and yet tedious. It could have been left unsaid maybe.
I liked the speed of the film. It was contantly moving and yet it was slow. here was enough happening to fill the time whilst keeping it slow moving. Not painfully slow but appreciatively slow. Time to linger on points and amble with the events.
HIs obligation as the Empire describes it is more of an obsession without so much compulsivity surrouding it. He was determined. Something about the love really gripped him and kept him entrenched within solving the problem. And then of course the frustration of working with a corrupt system. I think there wasn't much in the way o showing the legal system. I felt confused really by that. I guess the local audience would have a clearer understanding. Actually as I write that they probably don't at all. The regime would keep that sort of thing from public knowledge. It keeps an element of unknown and with that fear which gves power.
What a bloody system this society conjures all in the name of greed.

I'm so tired I need to pop off to bed now. Food is prepared for tomorrow. A phone call to T despite not wanting to. She is very self-willed and I feel sad yet know it all too well. She taked anything I say as being unheard yet actually she simply wants to do it all her own way and yet doesn't want to lose FA at the same time. It's not possible to have both. She needs to ake a decision.
She decided to go away and that truly is self-will and a great example of powerlessness way beyond the food itself. Doing what she wants regardless of recovery. She insisted on going and now is scared.
Somethow I recoil as I think of my parents saying similar things from start to finish.
Crikey! I listened to little and yet hear I am demanding that I'm heard.
I need to listen more to my dad.
I am worried about him an I know I've written that before. I sort of want him back at the ame time as wanting to reject him. My Aunt suggested that I may be looking after him after all. I wonder how that would fit in with Sister N's calling of me.

Gorra go to sleep now.
Goodnight, God Bless ..... (then liste can be quite endless sometimes so I won't start)
Goodnight, see you in the Mooorning.
XXXX