Invasion

Chess with good with evil and light with darkness or until the painterly twilight of a unique film noir bathed in the darkness of the Latin American sun. Which of the pawns is good and which is bad is structurally blurred, and the contrastingly refined black and white camera gives no more clues than a story based on ignorance: there remains the joy of the process, eternal preparation for an invasion, and eternal repetition of the struggle - a children's game of cops and robbers, Indians and cowboys, Germans and partisans, when roles are redistributed after the death of all players and a new round begins - tough men succumbing to their childish pleasures (movie theater, guns, seduction, alcohol, sentimental sense of duty) at the expense of the principle of reality. White stripes at the dances of Russo-Soviet invasions, white stripes on the US flag during invasions of Grenada, Panama, Iraq... But even the blacks are not without guilt, guilt in this film cannot be established: it's not about people, it's about the city; the city as a mere playing field, a chessboard on the table of the parallel army general staff, which fights its battles regardless of the real world beyond the touchlines of children's battles: outside the battlefield, where the standard audience moves, and therefore it is the saddest that this film, which was almost destroyed by the Argentine right-wing pro-American bloody junta, is destroyed for today by the lack of interest of the consumer audience. (17/02/2024)