Marco Bechis’ deeply moving, emotionally shattering film Back to Buenos Aires (Ritorno a Buenos Aires) is a fictional story based on factual events that the director himself lived through 50 years ago. Back in 1999, his film Olympic Garage, which bowed at the Cannes Film Festival, explored the daily realities of life in the notorious titular concentration camp. Now, he turns to exploring survivor guilt focusing on a man who did what he had to do to live, when most of his fellow comrades were being tossed out of planes.
Set in 2008, Bechis’s central character Mariano “Tano” Guerra (Adriano Giannini) has been living in Torino, Italy for 33 years, but has been summoned to testify against the former military officers that abducted, tortured and enslaved him during the military dictatorship in the late 1970s, when he was in his early 20s. And he must do it in person for any kind of justice to be served.
The non-linear narrative follows his journey to Argentina where he reconnects with fellow survivors and sought out by a young woman (Veronica Guerez), who insists that he knew her mother. But we also flashback to key moments during his subjugation and learn of the horrific abuses he suffered while imprisoned for two years and 46 days.
Tano, who joined an Argentine guerrilla organization only to be captured and forced to collaborate, is haunted by his past trauma and, while awaiting the trial, encounters his former tormentor and rapist, known as Doctor X (Adrian Fondari), who is a surgeon in a local hospital. The arrogant doctor still has a powerful sway over Tano and reminds him, “I saved you and made you mine.” Tano completely regresses in his presence.
Our protagonist also has a bizarre relationship with another survivor, who is testifying, Amalia Mendez (Ana Celentano), who defiantly tells Tano, “The military‘s biggest mistake was letting us live. They thought they’d always have power over us.”
And it is exactly that crushing manipulation–that brainwashing–that Tano is struggling to move on from. In a riveting 11th hour courtroom scene, he is finally given a chance to face the men who tried to destroy his will.
Bechis co-wrote the economic yet potent script with Vijaya Bechis Boll. He often relies on close ups of Tano, both past and present, to tell the story—which works magnificently. Bechis also utilizes a fascinating way of marrying the past and present, with older Tano reliving his experiences 30 years before as if it’s forcing itself on his presence, against his will –happening again in real time. I also must commend Guglielmo Diana for his rich, pulsating score.
Giannini astounds delivering a performance of such depth, dejection and desperation. Tano is so deeply wounded he may never fully recover. He still sees himself as this “loyal dog,” who betrayed his friends. Giannini fully embodies this terribly damaged man seeking a kind of absolution, perhaps retribution.
The subject matter of survivor’s guilt has been explored in many a holocaust-themed film (Enemies: A Love Story springs to mind as one of the best), but rarely have we seen a film about a man forced into sexual slavery. Bravo for Bechis for his bravery, honesty and artistry.
Back to Buenos Aires was the last film I saw at the Venice Film Festival and is certainly one of the best. It should have had a more prominent place in the programming.
FYI: the film is not eligible to be submitted by Argentina for International Feature Oscar consideration because the primary producing countries are Brazil and Italy. Brazil has already finalized its short list, and the film is not on it so it would need to be submitted by Italy, a country that has an embarrassment of cinematic riches, just at the festival alone. It will be interesting to see the direction they go in.
Back to Buenos Aires world premiered in competition at the Venice Film Festival.
