May 24, 2022 1:00 am

Movie premieres: Today the world is fixed is an emotional comedy about second chances

Today the world is fixed (Argentina/2022). Direction: Ariel Winograd. Film script: Mariano Vera. Photography: Félix Monti. Edition: Alejandro Carrillo Penovi. List: Leonardo Sbaraglia, Benjamín Otero, Charo López, Luis Luque, Martín Piroyansky, Soledad Silveyra, Gerardo Romano, Gabriel Corrado. Duration: 112 minutes. Qualification: suitable for all audiences. Our opinion: good.

How hard it is to innovate on proven formulas, busy climates, and familiar stories. And yet, when there is the virtuous conjunction between a talented director and an impeccable cast, everything flows, the counter resets to zero and you end up leaning back in the armchair, with your hands clasped behind your neck and a smile of enjoyment. Today the world is fixed is a good example of all that.

David The greek Samarás (Leonardo Sbaraglia) is a television producer in free fall. After seven years of sustained success with the program Today the world is fixed (a talk show in the style of The problem show), the rating becomes opaque as well as the channel’s trust in it.

A workaholic, David was never very interested in his ex-partner Silvina (Natalia Oreiro) nor his son Benito (Benjamin Otero). Her tragic death, and the discovery that he is not really Benito’s biological father, completely transform their world.

While helping the baby to unravel the mystery of his identity by visiting all those men who may have had a relationship with his mother, David transforms himself into a character from his own fiction; even though, paradoxically, that path together takes him away from the fantasy that he built for himself to confront him with the reality of his own feelings. And although at first he feels a side of Benito, as the days go by he discovers that he too is lost. “It does not happen if it is true or a lie, it happens that you believe it”, says the Greek with a new meaning, a metaphor related to television, but also to life.

With the eye accustomed to his more intense and dramatic compositions, one sometimes forgets the timing that Sbaraglia has for comedy, a genre in which you see it less than you would like. His composition of Samarás does not fall into thick lines or stridencies. She is precise, delicate and capable of navigating with equal dexterity a tense discussion with her ex as a bare-knuckle fight against a misguided clown. Just a few subtle differences in tones, looks or body language are enough to retrace the ups and downs of the script, always betting on a construction based on credibility, as a mirror of what each situation gives back.

Filmmaker Ariel Winograd insists on working with boys, a double-edged sword in matters of fiction. Fortunately, he is very good at it, and this time he succeeds again with Benjamín Otero. Although the little actor has the courage necessary to make the most poignant replicas of the script his own and natural, where he shines best is in the silences. The glances that father and son cross, those moments that are only the two of them become the highest point of the film.

Underpinning a character that has its own brilliance is Charo López (the homonymous of the Spanish star), a national comedian and actress who long ago deserved the opportunity to demonstrate his enormous talent on the big screen. By way of special participations, Diego Peretti, Gerardo Romano, Yayo Guridi, Luis Gioia, Gabriel Corrado, Luis Luque, Soledad Silveyra, and Oreiro herself dress the plot, each becoming small engines that push the story towards its inevitable outcome. Everyone contributes, no one is too much, something that does not always happen and we must be grateful.

Sbaraglia and Martín Piroyanski, two television producers at a personal and professional crossroadsALEJANDRA LOPEZ – Julia Lunghi Press and Communication

There will also be in the almost two hours of duration some other cumbersome moment for the evolution of the story (especially related to the subplot around the television program), which does not necessarily add to the story. Fortunately, they are the least, and they do not overly harm the many merits of the film.

A lot has been written about Winograd and not always well, but a certain judgment about his aesthetic decisions sometimes tarnishes how good a filmmaker he is. His precision, a rhythm for comedy that few here have, and that lucidity when telling each story, place him in a privileged place among the artists of his generation. Despite some setbacks, with each new project the director asserts himself more and better in a style akin to the general public, at times indebted to the classic Hollywood comedy past and present, but with a local flavor.

The intention of Today the world is fixed is to empathize with the public appealed to emotion. And your best bet is to do it little by little, building a bond with the viewer that grows gradually and in parallel to the one that is born between the protagonists. A fundamental decision for that affective relationship to last over time.

Comments (0)

Leave a Reply

Your email address will not be published.