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The Aura Reviews
The Aura is a film that has a lot of film noir vibes to it. The story is about a guy who is leading a boring life and so he fantasizes about pulling off the perfect heist. As the film progresses his fantasies start to come closer to reality, but not in the way he expected. The film takes its time, and is very quiet. It makes The Aura a good candidate for someone who isn’t accustomed to foreign films, because there isn’t a ton of dialogue, so you don’t spend a lot of time reading subtitles. However, it also makes the pace feel slow, and it came dangerously close to annoying me when I was ready to sprint into the next scene and the movie hadn’t wrapped up the current one. That being said, it was a minor frustration that would usually pass quick when they did move on, because I was always excited to see what would happen next. Based on my limited experience, I think Ricardo Darin is one of our greatest living actors. So much of this film hinges on him carrying us through the plot with nothing more than his facial expressions and body language. Here he plays a man who is in over his head, and he does it so perfectly that I was right there with him, and concerned what would happen next. Some of the decisions and assumptions he makes are a little far-fetched and illogical, but it worked to progress the plot forward. I also appreciated how The Aura built tension gradually and never once gave away where the plot was going. They also used a trick where they would show us the thoughts in the main character’s head as if they were really happening. This keeps you guessing when they step back out of his mind, because you never know if things will play out as he imagined them. One unique aspect of this film is the fact that the main character deals with epilepsy, which is preceded by the titular Aura. There are a few times when he collapses in a seizure, and there was always the threat it could happen again at an inopportune time. I was a bit surprised how little they used this as a plot device. It almost felt like a superfluous element that they could have cut from the film completely because it was so insignificant to the story. Perhaps if he experienced the seizures with greater frequency it would have created more tension for the audience because we would fear it could hit at any moment, but it didn’t seem to be a major issue for the protagonist. That’s not to say they never use it in the plot, and the movie was tense even without that aspect. I enjoyed The Aura despite its flaws, and continue to become a bigger fan of Ricardo Darin.
cinegeek.de Our Daily Free Stream: El aura (engl. subt.). Patagonien, eine mythische dunkle Welt. El Aura, der letzte Film des viel zu früh verstorbenen Fabian Bielinsky, lebt vom unheilvollen Wald Patagoniens - wie eine Reise ins Herz der Finsternis. Tiefer und tiefer dringen wir vor, bis uns der Wald umschliesst. Die Zeit vergeht immer langsamer, scheint schliesslich still zu stehen. Auf einmal entdecken wir eine Hütte mit Diagrammen, die ein Geheimnis verkünden. Wie eine Geistergeschichte aus dem 19. Jahrhundert. Der epileptische Präparator Esteban hat ein photographisches Gedächtnis. Er lebt in der Besessenheit, dass ihn diese Gabe zum perfekten Verbrechen befähigt. Esteban (Ricardo Darin) ist ein Mensch frei von jeglicher Bindung und persönlichem Ausdruck. Er lebt isoliert von der Aussenwelt. Während der Jagd erschiesst er versehentlich einen Einheimischen und erfährt, dass er den Komplizen eines Raubüberfalls getötet hat. Esteban nimmt die Position des Toten ein und übernimmt dessen Identität. Es scheint, als würden unheimliche Kräfte den Präparator treiben. Seine Epilepsie, seine "Aura", er nimmt sie wahr wie eine Tür im Kopf, durch welche diese Kräfte eindringen. Die sinnliche Langsamkeit mit der die Geschichte erzählt wird, die Stille des Protagonisten, die hypnotisierende Kraft der Landschaft - eine beunruhigende Stimmung vermittelt El Aura, bis sich der Film zu einem Bankraub Thriller steigert. Nach der suggestiven Verträumtheit des Anfangs war ich allerdings etwas enttäuscht, dass wir im Finale nur Gangster geboten bekommen, die man so auch aus anderen Filmen kennt. Bielinsky hatte mit seinem zweiten Film begonnen, neue Ausdrucksformen zu finden, um eine Geschichte zu erzählen. Wir können nur erahnen, wo die Reise hingegangen wäre. Der Argentinier starb mit 46 Jahren. mehr auf cinegeek.de
Fabián Bielinsky vuelve a trabajar de la mano de Darín. Esteban Espinosa (Darín) es invitado por un amigo a pasar un fin de semana de caza. El mismo se va complicando a raíz de un homicidio involuntario y accidental. Descubre que Dietrich (Manuel Rodal), el difunto, estaba en inmerso en la planificación de un crimen. Espinosa, para no despertar sospechas sobre el homicidio accidental, deberá ocupar el lugar de Espinosa, como si se tratase de un nuevo socio
One of the best movies of all time. Dark, realistic, incredibly insightful, El Aura transports the viewer into a world where control struggles to win against randomness.
It's slow running but it's as amazing as it can be. Hollywood should learn from some movies like this.
Una buena muestra del nuevo cine argentino, suspense con su máxima estrella Ricardo Darín.
Atmospheric film that it's hard to stear away from. A deep and layered film that builds up nicely with help from a captivating script. "Nueve Reinas" - the first film from the director was maybe even smarter and had that same pace and groove, This one, however, had much prettier photography. Almost spooky at times, dark and direct. The eplectic taxidermist, also the lead, is a very interesting character. Darín is amazing and really carries the film. There are loads of stuff going on here. Hunts, robberies, an art gallery and a casino just to mention a few details and scene settings. Believable action, cool subplots and a mysterious vibe is also treats we are served here, not to mention the fantastic, droning score. I never really get the point of the beautiful dog. I know there was some symbolism here, but it remains a little mystery even if I got some theories. To bad this was Bielinsky's second and last film. I'm sure we missed out on a lot of movie treats - a sad thing he passed so young. 8.5 out of 10 auras.
I don't understand the high rating. The movie is soooooooooooo boooooooooring.
A atmosfera do filme capta na perfeição os contornos da personalidade do protagonista: ambígua, misteriosa e vazia. E é através de um desempenho exemplar de Ricardo Darín (O Segredo dos seus olhos, 2009) que nos vamos mantendo na expectativa de arrancar segredos a uma narrativa pausada mas sempre viciante. O filme só peca por uma recta introdutória algo lenta e um desfecho insatisfatório. Contudo, esta é uma boa aposta para os fãs de filmes de suspense (e noir) falados em espanhol; é também mais um produto de grande qualidade do (pouco conhecido) cinema argentino.
An epileptic taxidermist with a photographic memory finds out heists aren't all they are cracked up to be. Too long and slow, but the great direction and acting make it worth the wait. "This character-heavy crime thriller from Argentina occasionally gets off track, straying into territory that has little to do with the main story line. But they are interesting digressions, and it's sort of nice to have a movie that's so unpredictable." "Visually, the film is almost perfect, with a weird, expressionistic sensibility, while the imaginative piano score trickles between pastoral harmony and primal discord." "The flavor is a decidedly mournful one, unusual to find in a crime thriller, but adding layers of rich atmosphere and psychological depth to a familiar but nerve-wracking genre tale."
I really liked this... the personality of main character, his photographic memory, how everything seemed to roll just right... BUT, the length of this film was crazy, and even worse, how can an epileptic have seizures and be on the floor for hours, with no one calling an ambulance? ... in the woods, maybe... in the bank by an atm machine overnite? NO WAY....
Occasionally a little TOO blunt in spelling out just how fucked each and every character is (the one scene in particular involving car trouble on a highway also -- random connection(?) -- smacks of a similar sequence in Kubrick's "Lolita") but that's self-professed nitpicking a movie this gripping and realized, and makes so excellent a point of showing and never telling that its 133-minute runtime goes by like a bone-chilling breeze. It's slightly humorous that Netflix categorizes this under action and adventure. Which it is, but only in the sense that "No Country for Old Men" is action and adventure. Just don't expect fucking "Rambo" and you're green to go.
Captivating. It's a bit difficult to follow at times, but it holds your attention very well. Great performances too.
The pacing is a little off, and Bielinsky doesn't (didn't, sadface) exactly have a masterful visual sense, but it's one of the most perfectly-plotted films I've seen in a while (seriously, every single detail pays off, it's incredibly satisfying if you're paying attention), and there's a beautifully sad, contemplative mood throughout. I went into this blind, not knowing that a) this was by the same guy who did "Nine Queens" and b) he's dead. Two surprises, one pleasant, one very much the opposite.
El cine argentino se ve siempre bien!
I'm not sure about this movie. The plot is a little confused and i don't get the point. At the same time i loved the photography, action and atmosphere.