Appearing Uruguayan essayist executive Lucia Garibaldi blends inchoate want with malignance in her narratively extra transitioning dramatization set in a tired shoreline town.
The female look consumes in The Sharks, a stewing hormonal cauldron of early-immature enthusiastic separation in which a 14-year-old high schooler’s endeavors to explore the new waters of sexual fascination trigger dull driving forces inside her. In her humble yet tonally guaranteed first component, Lucia Garibaldi strips ordinary plotting down deep down, a procedure reflected by her gifted utilization of the wide-open physical spaces uncovering her young hero’s strongly private world. The controlled somberness of the methodology reviews crafted by Mexican movie producer Michel Franco, making this a strong celebration calling card for the promising Uruguayan author chief.
Garibaldi has discovered a perfect conductor for her coolly obscure mental test in unselfconscious nonprofessional on-screen character Romina Bentancur, who plays Rosina. We discover that she’s equipped for savagery nearly from the opening scene as she keeps running along the street, through the shrubberies and down on to the shoreline, sought after by her concerned dad (Fabian Arenillas), and considerably more intently, by German Nocella Sedes’ camera. It rises that she has harmed the eye of her more seasoned sister Mariana (Antonella Aquistapache), and in spite of the fact that she says it was a mishap, she demonstrates no regret. Swimming into the sea, Rosina appears to be mindful of a nearness, even before she escapes the water and impressions a dorsal balance breaking the surface.
While Rosina is persuaded she saw a shark, her dad is pretentious, guaranteeing the sea predators are not basic in those parts. However, when a bloodied ocean lion remains is appeared on the sand, the neighborhood anglers whose get has been drained begin unsettling to chase down the shark.
In spite of being a center youngster, Rosina is to a great extent alone, showing little warmth toward her sister and the last’s sex-fixated companions, practically overlooking her more youthful sibling and discussing insignificantly with her scatty, self-retained mother (Valeria Lois), who is totally gotten up to speed in social event materials and considering procedures to begin a home beautician sideline. Rosina’s scarcely covered eye move as she attempts to disclose fundamental online abilities to her is one case of the film’s dull minor-scratch humor.
At the point when she’s drafted by her dad to assist the group of his yard upkeep business over the late spring, Rosina is in a flash attracted to Joselo (Federico Morosini), a colleague two or three years more seasoned than her, who is enhancing his angling pay. He restores her considerations in a dull, however apparently uninterested way, welcoming her to drop by the carport where he hangs out. Yet, that ungainly experience demonstrates sub-par. The camera remains on Rosina’s incomprehensible face as Joselo focuses without anyone else delight, enthusiastically rehashing the guidance: “Contact yourself.” His enthusiasm for her rapidly cools from that point onward, floating to his amigos, soccer and maybe more established lady friends. In any case, Rosina declines to be rejected.
Taking her prompt from the title animals that could possibly be cruising the seaside waters, Garibaldi shapes watched, emotionless Rosina into her very own sort of savage stalker. She points to get under indifferent Joselo’s skin by rough methods at first — with unknown, substantial breathing telephone calls — and afterward utilizing progressively forceful techniques including his pooch and his pontoon. The likelihood of her causing him genuine damage is left hanging in the open-finished last scene.
A long way from being a wrathful bunny-kettle in a Fatal Attraction– by-method for Jaws situation, Rosina is a young lady attempting to feel her way toward the edge of adulthood, guided just by her bungling, clashed impulses.
Depending essentially on the unblinking sharpness of Rosina’s look in Bentancur’s completely disguised execution, and the void made around her in scantily populated widescreen outlines regularly soaked in hot normal light, Garibaldi creates an unobtrusive examination of young female want and rebellious strengthening. Not a great deal really occurs, but rather you’re attracted all the equivalent, with intermittent impacts of boisterous, marginal threatening techno music recommending the potential for both enthusiastic and physical brutality.
Setting: Sundance Film Festival (World Cinema Dramatic Competition)
Cast: Romina Bentancur, Federico Morosini, Fabian Arenillas, Antonella Aquistapache, Valeria Lois, Bruno Pereyra, Jorge Portillo
Creation organizations: Montelona Cine, Trapecio Cine, Nephilim Producciones
Executive screenwriter: Lucia Garibaldi
Makers: Isabel Garcia, Pancho Magnou Arnabal
Official maker: Pancho Magnou Arnabal
Executive of photography: German Nocella Sedes
Creation planners: Nicole Davrieux, Maria Victoria Figueredo
Ensemble planner: Gabriela de Armas
Music: Fabrizio Rossi, Miguel Recalde
Supervisor: Sebastian Schjaer
Throwing: Chiara Hourcade
Deals: Visit Films