As visually captivating as it is emotionally engaging.
Lost Embrace (2005)
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Reviews Counted:17
Fresh:15
Rotten:2
Average Rating:7.3/10
Consensus: A low-key but charming tale that will put a smile on your face.
Theatrical Release:Jan 28, 2005 Limited
Synopsis: Lost Embrace stars Daniel Hendler (Winner 2004 Berlin Film Festival/Best Actor) as Ariel, a recent college dropout with hopes of escaping a career behind the counter of his mother's lingerie store... Lost Embrace stars Daniel Hendler (Winner 2004 Berlin Film Festival/Best Actor) as Ariel, a recent college dropout with hopes of escaping a career behind the counter of his mother's lingerie store in a Buenos Aires shopping mall. The job does come with its perks, as tantalizing as helping beautiful women slip in and out of lingerie can be, but the tales of the shopkeepers have grown stale; dressing-room trysts with Rita can't go on forever; and Estela, his now pregnant exgirlfriend, no longer needs him. It could grow into a comfortable routine, but with a passport to world travel and new adventures at his fingertips, Ariel seeks a life of greater aspirations. And Ariel can almost taste it. With a little “help” from Roman Polanski, Copernicus and John Paul I, his Polish passport will arrive soon enough, and the eccentric spirit of the mall and its shopkeepers will fade into memory. Will he miss the Saliganis, a large Italian family that runs an electronics store and beauty salon — at the top of their lungs, or the fabric-selling Levin Brothers (really cousins)? He barely knows the newly wedded Kims, but their feng-shui shop should fit in nicely. As for Osvaldo, he’s about to lose his stationery store, though not before Ariel learns a long-held secret from his past. Ariel’s certain to miss his best friend, Mitelman and his stunning Lithuanian secretary, and he can’t forget sexy Rita, the vixen of the Internet café who likes to model lingerie. Of course, long after Ariel departs, Joseph, his older brother, will still be settling scores from an office above the mall, and their mother, Sonia, will continue to run the lingerie shop. But before Ariel’s dream of a new life in Europe can begin, he will first have to shake a head-spinning dose of reality: his long-lost father is about to return. Ariel's father, Elias, left Argentina to fight in the Yom Kippur War but never returned to his family. Growing up, Ariel had heard stories about his father, both at home and from older shopkeepers at the mall, but the mystery of why Elias left the family shortly after Ariel was born, why he never returned, and why this seems to have left Ariel's mother and brother indifferent, has always bothered him. If the truth is to emerge, Ariel must stop running from Elias, allow his father to share his story, which includes old secrets about the mall and its shopkeepers, and, ultimately, accept a long-overdue embrace that has been lost to him for so long. A story of a first, bittersweet encounter between a father and his young adult son, Lost Embrace (Argentina's 2004 Academy Award entry/Best Foreign Film) conjures up an ensemble of engaging characters who pursue their humble dreams with gentle humor, irresistible passion and an infectious generosity of spirit. -- © New Yorker Films [More]
Starring: Daniel Hendler, Sergio Boris, Jorge D'Elia, Melina Petriella
Starring: Daniel Hendler, Sergio Boris, Jorge D'Elia, Melina Petriella, Atilio Pozzobon, Diego Korol, Adriana Alzenberg
Director: Daniel Burman
Director: Daniel Burman
Screenwriter: Marcelo Birmajer, Daniel Burman
Producer: Diego Dubcovsky
Composer: Cesar Lerner
Studio: New Yorker Films
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Reviews for Lost Embrace
The film's sophistication -- and it is an immensely sophisticated film -- lies in its refusal to tuck in too tightly its shirttails.
Burman succeeds in involving us with the kind of characters who don't normally find their way to the big screen.
A beautifully crafted film. Full of intriguing tracking shots, broken into vignettes introduced with lyrical titles, it has a willfully patient pace.
Were it a book, it would go somewhere on the shelf with Jonathan Safran Foer and early Philip Roth. It also possesses traces of early Jean-Luc Godard and his wit with characters, as well as some of Wes Anderson's random silliness.
Burman's use of handheld camera and his editing convey the messiness of life in the mall's large extended family, but he never allows the hurly-burly of the setting to overwhelm Ariel's story.
One of those foreign pictures that steeps us in a milieu so dense, yet so convincing, that we wind up believing and being beguiled by all its people and places.
It's a film of unexpected, almost indescribable off-center charm that deepens as it goes on.
The tedious film might have been worth watching if Burman had given reasons to care about Ariel or anyone else. He doesn't and we don't.
A small movie about a small world, but its modesty is part of what makes it durable and satisfying.
Tilts toward preciousness but is rescued from its sentimental impulses by Hendler, whose captivating deadpan belies Ariel's abiding affection for the very people he can't wait to escape.
It's 20 minutes too long -- forgivable in view of Burman's affection for his material.
A general lack of drama, a low-budget docu feel and an ultraslim storyline are more than compensated for by a sterling script and perfs.
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