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Film Review: Argentina, 1985

  • October 20, 2022
  • Rob Aldam
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The National Reorganization Process ruled Argentina as a dictatorship from 1976 and 1983l after the armed forces wrestled power away from Isabel Perón in a military coup at a time of growing economic and political instability. During this period, Operation Condor, an operation where military and security forces, along with right-wing death squads, hunted down and beat, tortured, raped, murdered and disappeared up to 30,000 political dissidents.

In 1985, the democratic government took the unprecedented step to bring the military junta to trial. Julio César Strassera (Ricardo Darín) is appointed as state prosecutor. The experienced operator is no stranger to clashing with the authorities. He appoints Luis Moreno Ocampo (Peter Lanzani) as his deputy, a man who comes from a military family. They hire a young legal team and begin the difficult process of documenting witness testimonies from across the country. The further they get, the more the pressure grows.

Based on true events, Argentina, 1985 is a powerful legal drama which follows a David versus Goliath fight for justice. The importance of the work these brave people undertook cannot be understated. Their quest is captured beautifully by Santiago Mitre, whose precise pacing and intelligent script (co-written with Mariano Llinás) do both justice to their subject while ensuring it never sags. Javier Julia’s beautiful cinematography and Pedro Osuna deftly judged soundtrack, coupled with great performances all round, help make Argentina, 1985 one of the most persuasive films of the year.

Argentina, 1985 launches globally on Prime Video on 21 October.

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Rob Aldam

Rob worked on a number of online music magazines, both as a writer and editor, before concentrating on his first love - film. After stints as Cultural and Film Editor on local magazines, he took up residency as Film Editor at Backseat Mafia. He specialises in covering world cinema, independent film, documentaries, and championing the underdog.

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