One of my all time favorites.

everything you have heard about this movie is true.

Dreadfully Boring

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Not brilliant now, may be later. This unassuming piece of work, reunites big names, a pathetic lawyer, a musician, and a false artist of our times (played by the director in the fictional parts), showing how post-truth is here to stay.A prismatic piece, that uses it cinematic media as message, not falling into the classical arrogance of other films playing the same game.

Was far much better the version I saw in the BAFICI festival, I miss that music and some scenes that are not there. This is now a kind of "making off" of what had far more sense and story, plus atmosphere. But, anyway, even if is not a real work of Agresti, and the Americans touched it like know all-know nothing typical spoiled, colonialist kids some are over there, I still I enjoy the freedom that exudes from the director's original. Hope Netflix could show us the original!!!

This might be the worst film I've ever seen. Oozes pretentiousness. Has no plot. Isn't funny. Lacks characters do nothing to endear you to them. They have no arc. And now they're making me write 5 lines on it, but I just had to write a review so nobody else fell in the trap of watching this film. It's also stupidly long considering that NOTHING happens. How it has an average so high I'll never know. End of story.

This movie belongs to the "film within a film" genre that opened up half a century ago with Fellini's 8 1/2. It features John Cusack and other American actors summoned to Buenos Aires to make a film that, we are told, experiments with cinematic language. The story is improvised (there is a script but nobody seems to take it seriously) and some scenes (like in Godard's La Chinoise) actually belong to the film within, as the point of view changes and we see the cameras rolling and the booms in place. Sequences are announced with title cards, also in Godard's style. The view of Buenos Aires and its people is that of an average American tourist; there are some comments about Peronism and the 1976-1982 military dictatorship but there is no depth or meaning in them. Everything we see or hear is capricious and at best whimsical, at worst pretentious and at times boring.Al Pacino plays the mysterious (and somewhat devilish) long distance mastermind of the project, He gets the best lines and makes the most of them; the short time he is on screen is the best part of the movie.The movie ends up saying nothing significant. Although some ideas may be interesting, it it difficult to gauge the intentions of the director. All in all, an unsatisfactory film.