I watched my first selection, Gigante, last week. The story of a lonely, heavy-metal loving security guard whose work monitoring the video surveillance at a soulless, Walmart-esque grocery store in Montevideo suddenly grows meaningful when he develops an unrequited love for one of the cleaning staff, Gigante is the first movie I've seen set in Uruguay.
Gigante was solid--not mind-blowing, but certainly worth my time. (Although can I just say that I'm officially tired of stories about people watching other people. Yes. I get it. We're all watchers. We live in a hypertextual miasma of disconnected emotions and pixellated love. Blah blah blah....Baudrilliard.... blah blah... Art in the Age of Mechanical... blah blah.... [stabs self in face with pen]....)
Point is: it's a tired conceit. Rear Window was working with the same ideas fifty years ago and in ways that were far more interesting and complicated than the subsequent imitations. (Interesting trivia: originally Rear Window was also supposed to be set in Uruguay, but they had to move it back to the States after the unions complained about the poor quality of the beaches in Montevideo.)
Where have I gone? Oh, I know. Gigante. Basically worth my time. The subtlety and precision of the actors as well as the overall sweetness of the story (love triumphs; faceless corporations everywhere agree to give out bunny rabbits to all employees once per day) kept me involved. Also, I get to listen to some Biohazard. And that can never be bad.
So, I'm excited. Film Movement. Check it out.