Reviews: Review of “Amancay”, by Máximo Ciambella

The winner of the award for Best Film in the Argentine Competition of the last BAFICI arrives at the Gaumont.

Máximo Ciambella made his feature film debut with the black tree. Co-directed with Damián Coluccio, it was an observational documentary that, embracing a worldview according to which nature and human beings coexist as an indivisible whole, showed the conversion of men and women from the Qom community into visible political subjects with the ability to raise the voice to be heard.

Ciambella’s second film, and her first solo film, could not be more different: where before an awareness of communal tools was growing to get mixed up in the dispute over public decisions related to the use of land, here is a group of young urban and night owls engrossed in a world of their own and faced with emotional problems while searching for something resembling a path in life.

The programmer David Obarrio is right when he states in the catalog that Amancay “it exists only to accompany its characters with all the dedication in the world”. As if what she had in her hands was a clipping of a set of lives rather than a classic story, Ciambella records the boys in black and white using a mostly fixed camera that tries to let the interactions and the actors flow naturally.

The boys share sexual anecdotes of all kinds, memories of an abortion, walks and outings in a city that – like them – never sleeps, spiritism sessions and dead times that they revitalize by accompanying each other. Ciambella, before the director, seems like one of the group.

Amancay -Trailer- from SURUBI CINE on Vimeo.

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