Graciadió
The handmade nature and manifest material austerity of GRACIADIÓ were no hindrance for Perrone to conceive – in one of his earliest portraits of a neighborhood – a very clear stylistic search: frontal wide shots, a few tracking shots, and some heterodox framings. Gus and Pao are together – kind of – and she becomes pregnant, which will entail a vital decision – not without its dose of drama – for this couple of slackers from Ituzaingó. However, Perrone is not interested in a potential domestic drama but, rather, in describing – sometimes in a poetic and some others in a humorous way – the emotional bonds between young people and their lack of social integration within the socioeconomic context which characterized the years in which Menem was the president of Argentina. This era is justly mocked in reference to the boom of private pensions and other landmarks of those days, such as the travels to exotic destinations. The naivety and kindness of the characters neutralizes the abandonment of a generation; abandonment which, at the end, is exorcized in a surrealistic way.
In the presence of Pablo Ratto (producer).
- Gustavo Prone - Gus
- Violeta Naón - Pao
- Mauro Alchuler
- Carlos Briolotti
- Norberto Verea
- Adrián Otero
- Horacio Embón
- Adrián Dárgelos
- Iván Noble
- Axel Kuschevatzky
- Ada Quiñones
- Micaela Abidor
- Félix Tornquist
- Roberto Barandalla
- Raúl Perrone
- Sepe Zayas
- Yago Blanco
- Raúl Perrone
- Martín Méndez
Les Envies que je te desire
