Criticism: Criticism of “More respect that I am your mother”, by Marcos Carnevale, with Florencia Peña and Diego Peretti

The original creation of Hernán Casciari closes his long journey of transpositions with a film that bets on the most vulgar grotesque.

Have more respect from your mother (Argentina/2022). Address: Marcos Carnevale. Cast: Florencia Peña, Diego Peretti, Guillermo Arengo, Ángela Torres, Agustin Battioni and Bruno Giganti. Screenplay: Hernán Casciari and Christian Basilis. Photography: Horacio Maira. Sound: Leandro De Loredo. Edition: Luis Barros. Music: Gerardo Gardelin. Distributor: Star Distribution (Disney). Duration: 100 minutes.

First it was a digital brochure published on the blog Orsai, then a book, later a successful play, and finally a movie. And the most recent film by the very prolific Marcos Carnevale (only in the last two years Crazy Heart, the little room, Hail and the series The protectors) ventures into the farcical spirit, into the most exacerbated manners with waiting for the race as model.

The result is a rough, coarse product, where underlining abounds and exaggeration is the norm. All with a staging on stage that refers to the old television strips with always high-sounding performances, a festival of faces and shouted dialogues. Shot at full speed, without taking too much care of the forms, giving the actors free rein to unleash a histrionics that at times leaves them exposed to ridicule, it is a moth-eaten cinema, which in several passages makes fun of its pathetic characters and – what is worse – in many others it seems to do it also of the public.

When the “dreaded” year 2000 is just around the corner, the Bertotti family from the city of Mercedes (Casciari is from there) fights so that the progressive degradation does not lead them to swell the increasingly large lower class. Dad Zacarías (Guillermo Arengo) and mom Mirta (Florencia Peña) live reproaching each decision to irritating limits. And there are the three sons (one gay who receives a scholarship abroad; another, resentful, who believes that his brother is always the favored one; and a third who tries without luck to ignore that sick microworld). And we also have the Diego Peretti show (a young man in some clumsy black and white flashbacks speaking a cocoliche of Italian and Spanish and already an old man in the present of 2000 as the grandfather). Almost the only funny moment is when the old druggist (a Peretti hyper-made up to give an octogenarian look) shows his admiration for the Ramones while he listens Pet Sematary with one of his grandchildren.

The film tries to draw certain parallels between the members of the family (he unemployed, she menopausal, the children full of traumas, anguish and insecurities) with the pre-2001 social decadence (the film reaches right up to the explosion of the crisis), but everything that remains of common places and stereotypes is missed in terms of irony, mordacity and intelligence.

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