Thesis On A Homicide Full Movie

Once again he is the star turn here, keeping alive a promising yet ultimately frustrating script. Thesis is the latest Argentinian feature starring the most elegantly ageing man in film, Ricardo Darin. Now in his 56th year he continues to carry a presence that most actors spend a lifetime searching for.

Even so it manages to keep you engaged to the end wondering just what the final answer may be.

Despite its lack of finesse, overall Thesis on a Homicide gets more right than it does wrong.

For example, Alberto Ammann, who plays the student whom Darín become obsessed with, shows and intelligent face every time his character says something supposedly ingenious. It´s curious that Goldfrid does not ever find the tone of the movie, when he previously, with Music on hold, built a romantic comedy in which there was a game of mistery with good climates.

Thereby, the movie evidences that is not only a thriller, but something deeper. If Thesis on a homicide, wants to be a movie by design, an industrial thriller, must know that there are basics tools that cannot be left aside.

And we can think about all of this as we watch the movie because, in its cold and distant construction, unconsciously highlights all the gadgets that participate in its structure.

Columbia Mba Essay Analysis 2014 - Thesis On A Homicide Full Movie

It is not that Thesis on a homicide is a bad film, but it is also true that a story based in the most pure mystery and that proposes the viewer to get into the psychological game of knowing who is the killer should generate more tension, chart its way with pure climate. However, the movie by Hernán Goldfrid moves forward with good ideas that are then boycotted by a rather flimsy narrative system that generates certain bipolarity in the spectator: at times it is liked, sometimes not, until it arrives to a disappointing ending, but not because it is open.Every movie uses reflection as a starting point, and the movie direction and performances are the ones that make the speech less explicit and more suggested.One of the problems of Thesis on a homicide is that from direction only serves to illustrate dialogues, and except Darín, no one can delve too much in their character (at least those who have more than five minutes on screen -there are plenty wasted around-). No, when all else fails, blame the equipment at hand. Anyway, Thesis on a Homicide may also leave you wrestling with your judgement, confused by the smart elements muddled together with the parts that are less so.Playing a lawyer named Roberto, he teaches an 8 week course to younger members of the bar which this time includes the son of an old friend.Ultimately, Thesis on a homicide is a movie with layers, with overlapping levels that never get homogenized, although they feed and hinder each other, and eventually build a psychological thriller quite deflated. 1-One of the layers could be the discursive: it’s undoubtable that Thesis on a homicide is the adaptation from a novel, because the movie resolves nothing with images (except a virtuous sequence shot where Darín´s character destroys his apartment, and that mimics a little to The conversation or the paranoid cinema of Brian De Palma).In fact, the characters could have sat in front of the camera, recited their lines and we would have the same results.And secondly, and vital, as well as to Darín, lacks of suspects: the story moves forward over the obsession of the protagonist, a law professor who is sure that a student is the murderer of a girl found dead in the vicinity of the Law Faculty.The mystery of the film, then, is reduced to if Darín is right or not.Because what the film has to say is the same as the book without a narrative mechanism that complex and amplify it: the justice as a social instrument governed by sectors of and institutionalized power, the crime as a fact defined not by the factual but the circumstantial which is pure construction, and the obsession as a tool that put in crisis the point of view over justice as over crime.Any movie begins with a series of reflections, but the staging and the performances are the ones who must achieve that the speech be less explicit and more suggestive.