In her eyes
| Movie | |
|---|---|
| German title | In her eyes |
| Original title | El secreto de sus ojos |
| Country of production | Argentina |
| original language | Spanish |
| Publishing year | 2009 |
| length | 129 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Juan José Campanella |
| script | Juan José Campanella Eduardo Sacheri (novel and screenplay) |
| production | Juan José Campanella Gerardo Herrero Mariela Besuievski Vanessa Ragone Axel Kuschevatzky |
| music |
Federico Jusid Emilio Kauderer |
| camera | Félix Monti |
| cut | Juan José Campanella |
| occupation | |
| |
In Her Eyes (El secreto de sus ojos) is a 2009 Argentinian film with Ricardo Darín in the lead role. It is based on the novel of the same name by Eduardo Sacheri , who also co-wrote the script. The director Juan José Campanella mixes the genre of crime thriller with a melodramatic love story against the background of the argentine military dictatorship (1976-1983). After just a few months, In their eyes , Argentina was the most-watched domestic production in 35 years.
The film, which was also praised by German-language critics, received the Oscar for best foreign-language film and a Goya in Spain . In 2015, the US remake appeared in front of their eyes with Julia Roberts , Chiwetel Ejiofor and Nicole Kidman .
action
In 2000, retired court clerk Benjamín Esposito decided to write a novel. At the center of it should be a case from his professional life that will not let go: the rape and murder of the young Liliana Colotto in June 1974. For this reason, Esposito meets with the judge Irene Hastings for the first time in 25 years. Irene was once his great love. With her he investigated the murder case at the time.
After Liliana Colotto's murder, two construction workers were hastily accused of the crime and the police forced a confession using physical violence. Esposito, who was convinced of the innocence of the two men, attacked the responsible judicial officer Romano in his anger. To track down the real killer, he visited Ricardo Morales, the husband of the murdered. In the young couple's photo albums, he noticed a man who looked at Liliana Colotto in a conspicuous way on several shots. The widower identified him as Isidoro Gómez and Esposito went to look for him. But Gomez had not shown up at work, and he had left his apartment in a hurry. Therefore, together with his friend and colleague Pablo Sandoval, Esposito privately searched the suspect's mother's apartment. There they found letters from Gómez revealing his passion for the Racing Club , a football club from Avellaneda . After years of searching, they were able to arrest Gómez there during a football game in the stadium.
In the interrogation that followed, Irene Hastings provoked the suspect by denying his masculinity until he went mad and confessed to the murder of the young woman. The court sentenced Gómez to life imprisonment, but was released after a short time. The Argentine security service had recruited Gómez as an informant after the beginning of the military dictatorship. Romano, who now works for the Argentine security service, was responsible for this move; apparently he wanted to settle an outstanding score with Esposito. Hastings and Esposito protested to Romano in vain against his actions. As they left the building, they met Gómez in the elevator, where he demonstratively finished loading his service pistol. An execution squad apparently commissioned by Gómez wanted to shoot Esposito in his apartment, but instead murdered Sandoval, who happened to be there. Esposito said goodbye to Irene Hastings and fled to the provinces, where he worked for a few years.
25 years later, Esposito has completed a large part of his novel and once again seeks out the widower Morales, who now lives very secluded in the country. He tells Esposito that he did not remarry and finally confesses that he tracked down, kidnapped and murdered Gómez. The retired investigator says goodbye and looks back in the car on his impressions. He remembers that Morales had told him during the investigation into the case that the murderer should not simply be punished with death, but should be imprisoned for life. So Esposito sneaks back to Morales' property and can watch him carry a tray with food to an outbuilding of the house. It turns out that he has been holding his wife's killer there for 25 years. Back in Buenos Aires , Esposito goes to the courthouse to confess his love to Irene. This seems to show his concern and does not seem averse to it.
criticism
The film was well received by the German-language critics. It was said that it was extraordinary and fascinating, “exciting and entertaining” or “a stroke of luck in terms of acting, narrative and visual”.
The common element of the otherwise very different genres of melodrama and thriller is attention, explained Gerhard Midding in epd Film . “Its slow, careful narrative rhythm is indispensable for the film, because at its core it is about the conditions of perception. The revised perspective, but also the continued effect of the first glance, reveal the true relationships. ”The two investigators and the judge see more in the interplay than either of them for themselves. And Martin Schwickert from Tagesspiegel said that Campanella succeeded in “intertwining the two narrative levels so closely that the criminal investigation and the investigation of one's own feelings can often hardly be distinguished. It's exciting, heartbreaking and permeated with deep melancholy. "
From a dramaturgical point of view, the critics called the film “classic narrative cinema”, told in an “old-fashioned way” in an exciting way. "You can't recognize your own signature, but catchy cinema with great entertainment value that also has something to tell," said Walter Gasperi in Ray magazine . Campanella uses the thriller's stylistic devices confidently, his film is characterized by a fast-paced plot, a carefully structured script and an economical narrative style. Midding, on the other hand, called the economy of motifs conscientious rather than sophisticated. In the press , Christoph Huber explained, "The interplay of careful construction and sustained rhythm ensures effectiveness". Others found that the gripping and moving story draws the audience deeper and deeper into it or moves it without ending up in emotional kitsch. Dealing with the different time levels was found to be sovereign, credible, or their nesting artful.
The “excellent” dialogues and the “captivating” figure drawings were also mentioned. In the “excellent” or “outstanding cast ensemble” Ricardo Darín was singled out for his charisma. Geri Krebs called the cameraman Felix Monti in the Neue Zürcher Zeitung a true master in the “stupendous play of light and shadow”, for Huber the pictures were “sometimes too varnished or almost too sensational”.
The work describes the "attitude to life, which is actually the feeling of a life prevented", as it is felt by many people in Latin America. It makes "the forlornness of the individual in a repressive society perceptible in an oppressive way." It points to "unhealed wounds" as well as it addresses the elementary themes of guilt, punishment and justice. In addition, the film raises the question of the right to vigilante justice. The outcome of the described healing process turned out to be “a bit too affirmative” for Midding.
synchronization
The German dubbed version was created under the direction of Scalamedia , Munich, based on the dialogue book by Änne Troester . Dialogue director led Cornelius Frommann .
| actor | role | German speaker |
|---|---|---|
| Ricardo Darín | Benjamin Esposito | Martin Umbach |
| Soledad Villamil | Irene Menendez Hastings | Elisabeth Günther |
| Javier Godino | Isidoro Gomez | Jan Makino |
| Guillermo Francella | Pablo Sandoval | Tobias Lelle |
| Pablo Rago | Ricardo Morales | Martin Halm |
Distribution title
The original title El secreto de sus ojos is shortened in the German translation to "In their eyes". The literal translation is "The secret of his / her eyes". Due to the ambiguity of the possessive pronoun , the expression can be related to “his” (singular male) as well as to “her” (singular female or plural indeterminate gender) eyes. For dramaturgical reasons the translation “The secret of their eyes” is more obvious.
Awards and nominations
In 2010 the film was awarded the Oscar in the category “Best Foreign Language Film” and the Goya Film Prize in the category “Best Foreign Film in Spanish Language”. A nomination for best European film followed at the European Film Awards 2010 .
2016 occupied in their eyes in a survey by the BBC to the 100 most important films of the 21st century to the 91st place.
Review mirror
positive
- Cinema No. 11/2010, p. 58, by Ralf Blau: In their eyes
- film service No. 22/2010, by Wolfgang Hamdorf: In their eyes
- Neue Zürcher Zeitung , August 19, 2010, p. 43, by Geri Krebs: Virtuoso puzzle game
- Ray , No. 12/2010, p. 58, by Walter Gasperi: In their eyes / El secreto de sus ojos
- Der Spiegel , October 25, 2010, p. 143, short unsigned review: Cinema in a nutshell
- Der Tagesspiegel , October 28, 2010, p. 27, by Martin Schwickert: Love & Death
- Die Welt , October 28, 2010, p. 24, by Barbara Schweizerhof: The lifestyle of millions: "In their eyes"
Rather positive
- epd Film No. 11/2010, p. 37, by Gerhard Midding: In their eyes
- Die Presse , December 27, 2010, by Chistoph Huber: How glances show the way to the murderer
Remake
2015 staged Billy Ray , the US remake before their eyes ( Secret in Their Eyes ). Julia Roberts , Chiwetel Ejiofor and Nicole Kidman played the leading roles .
Web links
- Official website
- In their eyes in theInternet Movie Database(English)
- Press review on moviepilot.de
- Expert opinion of the German Film and Media Assessment FBW with the rating "particularly valuable"
Individual evidence
- ^ Certificate of Release for In Her Eyes . Voluntary self-regulation of the film industry , August 2010 (PDF; test number: 123 611 K).
- ↑ a b c Barbara Schweizerhof: The lifestyle of millions: "In their eyes" . In: Die Welt , October 28, 2010, p. 24
- ↑ a b c Ralf Blau: In their eyes . In: Cinema No. 11/2010, p. 58
- ↑ a b c d Wolfgang Hamdorf: In their eyes . In: film-dienst No. 22/2010
- ↑ a b c Geri Krebs: Virtuoso puzzle game . In: Neue Zürcher Zeitung , August 19, 2010, p. 43
- ↑ a b c Gerhard Midding: In their eyes . In: epd Film No. 11/2010, p. 37
- ↑ a b c Martin Schwickert: Love & Death . In: Der Tagesspiegel , October 28, 2010, p. 27
- ↑ a b c d e Chistoph Huber: How looks show the way to the murderer . In: Die Presse , December 27, 2010
- ↑ a b c d e Walter Gasperi: In their eyes / El secreto de sus ojos . In: Ray , No. 12/2010, p. 58
- ^ Der Spiegel , October 25, 2010, p. 143: Cinema in a nutshell
- ↑ a b In their eyes. In: synchronkartei.de. German synchronous index , accessed on January 3, 2017 .