Buenos Aires, 100km Pablo José Meza Argentina 2004
Unpretentious and refreshingly touching, Pablo José Meza´s film, Buenos Aires 100 km, tells the ordinary story of a group of 5 Argentinean teenagers as they approach and apprehend the adult world and its brutal vanities for the first time. Buried in the quiet anonymity of a small village situated 100 kilometres away from the capital, these "infamous five" go about their usual mischievous lives without worrying much about what the future holds for them until village life and its claustrophobic imperatives forces them to consider the risks and responsibilities they will soon have to face.
The over-exploited model of the puberty posse is used here with tender empathy to offer a prismatic view of human nature and its various manifestations within Argentinean society. The character of Guido for example, who works under his father’s orders only to be rewarded with a beating or a moan at the end of the day, speaks for the new generation of Argentineans who suffered the daily consequences of a long established tradition of strict machismo and cold masculinity. More familiar to western societies, the problem of adoption portrayed by Damian and his parents perhaps translates better to our usual approach of the identity crisis that so typically marks teenage-hood. The theme of parental loss is further explored through Matias’ example of forced emancipation as he is left outside his own house every night by his undeserving parents. The director’s intended silence upon the reasons behind his parents’ unacceptable behaviour suggests that no valid explanation could ever legitimise the indecent inhumanity of such an act.
Further into the cultural depths of the film, Alejo’s story illustrates various aspects of the machismo culture present in Argentina and its implications for women with regard to nudity and sex. The Argentinean conception of the sacrosanct mother figure is explored and perverted with realism through Alejo and his mother’s relationship, as the child is forced to open his eyes to the unknown, disgraceful face of his mother. Through the insidious hearsay of the village, Alejo discovers that his mother has a lover, that women have desires and that men have their failures. His story also highlights the cruel games of fame and blame that often characterise close-knit communities and the shallow hypocrisy implied and required by village life.
Last but not least, Estaban is the binding element that brings all the other characters together and thereby acts as one of the most significant figures of the film. His position of goal-keeper within the football team is symbolic of the central role he assumes amongst his friends who use him to bounce back the daily miseries life holds for them. Strong as a pillar, Esteban draws his robust generosity from his family, whose comforting stability acts as an exemplary motor for the boy’s sentimental and academic life. Guided by the firm hand of his father and consoled by the discreet understanding of his mother, Esteban soon understands that pleasure and leisure can only be earned through assiduous work and patience. Through his eponymous novel, the director offers an allegory for life and art where, with words or images, the artist canvasses his personal interpretation of life and paints a relativist tale of eclectic feelings and meanings.
Living up to its "Latino" ambitions, the film concludes on a vibrant football game, whose summitry value establishes the lesson of the film with undeniable perceptivity. Life is a game and the most important thing is to participate. Each character played by the rules and contributed to the successful outcome of the match but now that the game is over, time has come for each of them to find and follow their own path. But Tché! What a game!
