Susana Campos Movies

Gaston Biraben's political thriller Cautiva (Captive) concerns itself with what happened to the children of the people killed after the 1970s military coup. Cristina Quadri (Barbara Lombardo) is the model of a perfect student. Smart and affluent, her life is in perfect order until, one day, she is called from her class and made to appear in front of a judge. The judge informs her that her real parents were killed in the '70s. Cristina is forced to go live with her grandmother Elisa (Susana Campos), who has spent the past 20 years attempting to locate Cristina (whose birth name was Sofia). Although, at first, she is hurt, bitter, and confused, Cristina/Sofia eventually grows to care for Elisa and begins to research the fate of her parents. Captive was an award winner at the 2003 San Sebastian Film Festival. ~ Perry Seibert, Rovi

The Argentine Fridays of Eternity takes a simple romantic plot and gives it texture with a scintilla of fantasy. Thelma Biral and Hector Alterio are the lovers who pledge eternal devotion. In this case, eternity is not a affectionate exaggeration; it is, indeed, Eternity. Combining other-worldly elements with standard plot devices is not unusual in Argentine films; indeed, many viewers have come to expect it, and are disappointed if the Supernatural is not part and parcel of the package. Director Hector Olivera (A Funny, Dirty Little War, Barbarian Queen etc.) may well emerge in future references as the single most prolific and influential filmmaker in Argentina. ~ Hal Erickson, Rovi

In 1935, Paramount pictures made a tango musical featuring the rising Argentine star Carlos Gardel. Not long after that, Gardel, who is widely credited with popularizing Argentina's national dance, the tango, died in an airplane crash, along with many other key figures in the rise of tango music. A biography of Gardel with substantially the same name as this film was made in 1986, titled Dia Que Me Quieras. This 1969 musical is a straightforward remake of the earlier film, with new recordings of the old favorites a major feature. Given that the Argentines could be reliably counted on to be critical of any lapse in production values or failure to live up to the spirit of the original, it is significant that this film was a runaway box-office success there. The story concerns a rich man's son who is disinherited by his father when he shows more interest in music and the tango than in the family business. The boy marries a tango singer, and they live together in poverty, raising a small family. After his wife dies, the boy goes on to become a major musical success, and the story is told in flashback by the much older man. One performer reprising his role from the original film is dancer/comedian Tito Lusiardo. The star of the film, singer/actor Hugo de Carril, here marks his return to acting after several unsatisfying stints as a film director. ~ Clarke Fountain, Rovi

Maria (Evangeline Salazar) is a wife who is frustrated with her husband Alberto's (Rodolpho Beban) constant lack of money in this distaff melodrama taken from the 1930 play by Armando Mook. While living in a tiny apartment, the couple tries to make ends meet during a time of rampant economic inflation. ~ Dan Pavlides, Rovi

The comic tone of this Australian feature is implicit in its English-language title, The Stork Said Yes. Based on a popular play by Carlos Liopis, the film stars South American stage and film favorite Lola Membrives. Though a bit long in tooth to be convincing as an expectant mother, Lola carries off her assignment with verve. There's nothing new or innovational in the plot, simply the usual collection of pregnancy jokes, but it is tried and true material and comes off quite well. In fact, many Argentines were of the opinion that the film version of The Stork Said Yes was even funnier than the stage original. ~ Hal Erickson, Rovi