Pizza, birra, faso
| Movie | |
|---|---|
| German title | (unpublished) |
| Original title | Pizza, Birra, Faso |
| Country of production | Argentina |
| original language | Spanish |
| Publishing year | 1998 |
| length | 92 minutes |
| Rod | |
| Director |
Bruno Stagnaro , Israel Adrián Caetano |
| script | Bruno Stagnaro |
| production | Bruno Stagnaro, Israel Adrián Caetano |
| music | Leo Sujatovich |
| camera | Marcelo Lavintman |
| cut | Andrés Tambornino |
| occupation | |
| |
Pizza, birra, faso (translation: pizza, beer, cigarettes ) is an Argentine fictional film from 1998. The drama with elements of a heist movie is about a group of young muggers in Buenos Aires and is considered the key film of the new Argentine cinema ( nuevo cine argentino ) around the turn of the millennium, in which protagonists from the lower class and from socially marginalized groups take center stage in view of the social division in the Menem era and the impending economic crisis .
action
The 20 year old petty criminal Cordobés lives with his pregnant wife Sandra and his three friends Pablo , Frula and Megabom in an occupied house in Buenos Aires . The four young men earn their modest livelihood, mostly content with pizza, beer and cigarettes, through robberies, mostly in collaboration with a corrupt taxi driver. However, since the latter gives them little of the prey, one day they decide to look for a bigger "job" themselves. After Sandra, who was not involved in the rip-offs, was arrested for one night after an attack by Cordobés on a street musician with amputated legs, she left the house, moved in with her father and did not intend to return until Cordobés found a legal job.
After a moderately successful trick theft in a queue of applicants for a job, Cordobés drives to Sandra and tries to reconcile with her by promising her not to steal any more. His promise does not last long: shortly afterwards, the four of them try to rob a luxury restaurant with the help of a new acquaintance from the criminal milieu, Rubén. However, the loot does not meet their expectations, and they also have to pay a police officer a bribe. Rubén also cheats the four of them when distributing the booty. You go to a discotheque, and upon entering you notice that it would be a worthwhile target for a robbery.
They plan the coup in such a way that immediately afterwards they take the ferry across the Río de la Plata to Uruguay ; Cordobés instructs the unsuspecting Sandra to buy the tickets. First, however, they take revenge on the taxi driver by pretending to carry out another attack on him. Along the way, they fake an argument and, with the help of their victim, an elderly woman, take control of the taxi. They rob the driver of money, weapons and a car and drop the woman at the airport, where she calls the police.
Later they raid the discotheque, but suddenly the police show up, who recognized the stolen taxi. Only Pablo and Cordobés, who is shot and seriously injured by a bouncer, can escape; Frula and Megabom remain badly wounded at the scene. Pablo steals a small car, but is followed by the police shortly afterwards. However, Pablo manages to drive Cordobés to the port, where Sandra is already waiting for him. In view of his poor condition, however, he tells her to drive alone for the child's benefit and gives her the booty. Two police officers notice him when he collapses on the bank with his strength at the end. At the end you can hear the police radio, which shows that Cordobés died from his gunshot wound and that Pablo was also shot after a duel with a police officer.
production
Pizza, Birra, Faso was the first full-length feature film by Uruguayan-Argentinian director Adrián Caetano , who had previously studied at a film school in France. It was shot with amateur actors in three months on a budget of $ 400,000. The idea goes back to a meeting between Caetano and Bruno Stagnaro in 1995 "over a beer and a pizza".
reception
Commercial win
The film was released in Argentine cinemas on January 15, 1998 and was a surprise hit.
Prices
- Cóndor de Plata 1998: Best Film, Best Original Screenplay, Best Film Debut, Best New Actor (Héctor Anglada)
criticism
The film was received very positively by the critics and was chosen as the key film of a new Argentine cinema .
According to Malena Verardi (2009), the most noticeable innovation in this and the other films attributed to this movement is the novel inclusion of the spatial element in the plot. In Pizza, Birra, Faso, the city is not just a place of action, but is also represented as a further protagonist, and its social division is made clear by means of sharp dividing lines and contrasts. The protagonists move between the slum Villa 31 and the posh Florida shopping street, which is less than a kilometer away, along with the banking district; The inexpensive regular pizzeria of the protagonists Ugi's , in which even the leftover food is still used by beggars, contrasts with the luxury restaurant that they raid. The places of the upper class, which are inaccessible for the protagonists, are almost always shown from the outside and in the few interior shots of the restaurant, for example, the unrest of the protagonists is emphasized by camera technology. The Río de la Plata as the border of the city (and Argentina to Uruguay) symbolizes the hope for a better life, which is not possible for the protagonists in Buenos Aires. These socially critical elements are combined with the style of classic crime and action films, which especially dominates the final part.
Santiago García emphasized the authenticity of the characters and situations in a review for the magazine Leer Cine . The real innovation is the performance of the actors, who see themselves as personalities of the street and also speak so. The film does without a morally raised index finger. The scene in which two of the protagonists steal from a limping musician is almost the film's manifesto. Good and bad are not clearly recognizable. As an extra, the protagonists are filled with a romantic , tragic heroism, so they sacrifice themselves for each other in the last few minutes of the film until only Sandra with the unborn child remains as the only survivor.
Ricardo García Oliveri ( Clarín ) gave the film a very good grade . Although at first glance he addresses a normal topic, a failed robbery with a built-in romance, he slaps the evils of the epoch, injustice, a lack of solidarity and indifference, but in the end a resounding slap in the face. For the Argentine film, the authenticity of the actors is remarkable. The directors have shown a good hand in putting themselves in the shoes of the protagonists.
Claudio España ( La Nación ) rated Pizza, Birra, Faso as excellent and highlighted Anglada's performance, which gives the film spontaneity. The language of language was worked out in anthropological detail and the film also used an academic language in dialogues, camera work and editing.
Web links
- Pizza, birra, faso in the Internet Movie Database (English)
Individual evidence
- ↑ Pizza, birra, faso, la película que se llevó más premios , Clarín , April 24, 1999
- ↑ Verardi, Malena: Reseña de "Pizza, Birra, Faso: la ciudad y el margen" de Adrián Caetano y Bruno Stagnaro , Bifurcaciones magazine, No. 9, July 2009, pp. 1–8 ( PDF version ( page no longer retrievable , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , Spanish)
- ↑ PIZZA, BIRRA, FASO, de Adrián Caetano , Leer Cine, DVD review, 2007
- ↑ Los condenados de la gran ciudad , Clarín.com, January 15, 1998
- ^ Con realismo , La Nación, January 15, 1998
