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Suddenly

2003, Movie, NR, 94 mins

Suddenly: Review

SUDDENLY | TAN DE REPENTE
starstarstarstar
A quirky, utterly charming road movie from Argentina. You may not be entirely sure where it's going, but there's a good chance you're going to like it once it gets there. Young and alone, Marcia (Tatiana Saphir) spends her days working the counter as a sales clerk in a Buenos Aires lingerie shop; her nights are spent in her apartment, eating dinner by herself, dialing the number of the guy who dumped her, then hanging up. Marcia's unexpected salvation from her dreary existence comes when she's abducted by a pair of tough talking bad girls in broad daylight. One calls herself Mao (Carla Crespo), the other goes by Lenin (Veronica Hassan), and when Marcia says no-way to a three-way, Lenin pulls a switchblade and the poker-faced pair kidnap their not entirely unwilling prey. First stop, Burger King, where Mao tells Marcia all about love at first sight and how she simply has to have her; when Marcia tells her captors that she's never been to the sea, they carjack a cabbie and drive to the shore. Heading north with no particular destination — these hellcats live by no one's rules but their own — the cab finally runs out of gas. Mao, Lenin and Marcia hitch a ride, first with a marine biologist (Susana Pampin) who's just registered two baby killer whales, then a lecherous truck driver (Luis Herrera), who accidentally runs down a pedestrian. Fleeing the scene, the girls wind up in Rosario, where as a child Lenin used to visit an aged aunt, Blanca (Beatriz Thibaudin). It turns out the old gal is still alive, scraping together a living by selling eggs to her neighbors and renting out rooms in her ramshackle house to two boarders, Delia (Maria Merlino), a painter, and Felipe (Marcos Ferrante), a biology student. Once the girls settle in with Blanca for a short stay, the film becomes less of a dryly comic picaresque adventure than a moving character study of people who've been cut adrift from their friends and families. Aesthetically, the film does share a few things in common with other recent films from Argentina — Pablo Trapero's CRANE WORLD (1999) and Israel Adrian Caetano's BOLIVIA (2001) come to mind. It's relatively realistic and shot on location in black-and-white with a cast of relative unknowns, but that's about as far as it goes. This warm, ultimately poignant film hoes its own row, and proves once again the diversity and vitality of contemporary Argentine film. leave a comment --Ken Fox
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