Modelo 73
Argentina,
2001, 75 min
Shown in 2001
CREDITS
- dir
-
Rodrigo Moscoso
- prod
-
Rodrigo Moscoso
- scr
-
Rodrigo Moscoso, Juan Villegas
- cam
-
Bill Nieto
- editor
-
Nicolás Goldbart
- mus
-
Adrián Paoletti
- cast
-
Sebastián Colina, Emmanuel Moscoso, Fernando Belton, Jimena González, Carolina Terpolilli
- source
-
Tres planos Cine, Vicente López, 1933 961, 1129 Buenos Aires, Argentina. FAX: 54-11-4807-9369. EMAIL: tresplanos@fibertel.com.ar
- premiere
-
North American Premiere
OTHER
Director Rodrigo Moscoso hails from a fine arts background in painting and photography, so it’s not surprising that 73 Model, his first feature film, unfolds with stunning cinematography and an art-hip soundtrack. What is unexpected, however, is Moscoso’s light touch in rendering a subtle narrative and his accomplished direction of actors. Taking place in Salta, Argentina in 1993, 73 Model threads its way through the interwoven plights and fancies of three young friends as they try their hands at wooing women, being cool and dealing with a broken-down ’73 Chevy. Moscoso’s story weaves between poles of poetry and comedy, love and lust, adolescence and adulthood. In some ways reminiscent of Richard Linklater’s unsentimental, giddy treatment of youth and nostalgia in Slacker and Dazed and Confused, 73 Model deftly navigates the terrain of male adolescence. Like Linklater, Moscoso illustrates this confusing time of life—and its remembrance—with striking clarity. In the most poignant moments of the film, Moscoso’s remarkably recognizable characters (you either know these kids or were one yourself) struggle simply to act. All of youth’s contradictory emotions—of triumph and sadness, invincibility and frustration—are thrown into relief in this understated film about leaving your childhood behind.
—Sean Uyehara
FACTOID #1
The Festival has screened many debuts, both short- and feature-length, by some of cinema’s most influential artists including Juan Antonio Bardem, Jane Campion, Roman Polanski, Melvin Van Peebles and Lina Wertmüller.
