Director: Juan José Campanella.
Screenplay: Eduardo Sacheri, Juan José Campanella.
Starring: Ricardo Darin, Soledad Villamil, Guillermo Francella, Pablo Rago, Javier Godino, José Luis Gioia, Carla Quevedo.
The 2010 Academy Awards category for Best Foreign Language film contained some strong contenders with the likes of Jacques Audiard’s “A Prophet” and Michael Haneke’s “The White Ribbon“; two films that could easily have laid claim to the award. However, it was this film that crept up from under their noses and took the Oscar. Whether or nor you pay any credence to the Oscars is neither here nor there as there’s no doubt that this is solid and absorbing filmmaking.
In 1999, retired criminal justice officer Benjamin Esposito (Ricardo Darìn) decides to write a novel about a murder case that he investigated in 1974. He decides to visit his old colleague Irene Hastings (Soledad Villamil) to talk it over. The case had repercussions for everyone involved but Benjamin didn’t realise the direct effect it had on him or his deep, suppressed feelings for Irene.
With a title like “The Secret In Their Eyes“, this film states it’s intentions and stands by them. Director Juan José Campanella lingers long on shots and wisely focuses on the eyes of his performers. For a film that’s predominately dialogue driven, the abundance of close-up’s add another dimension where the eyes speak a thousand words. It’s a great technique that conveys a myriad of hidden meanings in the relationship between the two main characters, Benjamin and Irene. However, this relationship is not entirely apparent from the off-set. It’s only when the film’s layers are revealed that this comes to the surface, as in the meantime you’re too preoccupied with it’s murder-mystery plot developments. This mystery progresses into a manhunt, while taking time to explore the judicial system and political corruption that was rife in Argentina in 1970’s. It’s during this, that Campanella takes advantage of the thriller element in the story, delivery an absolutely astounding and very skilfully handled tracking shot through a football stadium, leading to an impressively assembled chase sequence. Just how they managed to do it is beyond me and needs to be seen to be believed. There are many moments of intensity when it matters (including a nerve-racking elevator moment that’s hard to forget) but it also knows how to ground itself and that’s were the performances come in; Ricardo Darin is a charismatic presence who more than holds your interest with unshakable ideals and a strong moral compass, while Soledad Villamil delivers a strong and reserved show. It’s the chemistry between these two wonderful actors that play a big part in the film’s, effortless, tonal shifts. It’s also not without humour or tragedy which is provided by Guillermo Francella as Benjamin’s alcoholic, but loyal and reliable colleague, Pablo.
Quite simply, it’s easy to see why this film took the Oscar, it’s has a bit of everything; a sharp and involving script that pays great attention to detail; skilful direction; rich cinematography and natural, committed performances.
A complex tapestry about life, love and chances rued, that’s built around the constructs of a thriller. It excels in everything it challenges and that’s exactly where it’s strengths lie.