Mariano Cohn, Gaston Duprat
Finale a sorpresa - Official competition

I must say that I had high expectations when I went to see "Finale a sorpresa - Official Competition." The film, which was presented at the latest Venice Film Festival, was preceded by a hefty promotional campaign touting it as the "most entertaining film of the year." In these lean times for cinemas (since the start of the pandemic to today), everything must be done to encourage the public to go to the movies, and it is well known that goods don't make their way to the market on their own (as the old Karl Marx more or less stated). And so, at the penultimate screening last Friday evening, I found myself in a cinema crowded (so to speak...) with four decidedly elderly spectators, after the cashier also asked if I qualified for the discount for those over 65 (I'm no longer a youngster and am not far from falling into that category myself).

Well, having seen the film, I can say I am not exactly disappointed, but neither am I satisfied, which serves as further confirmation of how deceptive advertising can be. So what exactly is not fully convincing about the movie?

The story begins promisingly, introducing us to a wealthy entrepreneur named Humberto Suarez, who, upon turning 80, aims to finance an initiative of significant impact and resonance. Something not so predictable as the construction of a building like a bridge, but rather an artistic work that could bring prestige. And what better, in such a case, than purchasing the rights to a successful novel to create a film version? Add to that the choice to entrust the direction of the movie to a well-known and innovative director like Lola Cueva (an incredible Penelope Cruz), and it seems like a done deal. Since the film will be based on a novel depicting the conflictual relationship between two brothers, the director insists and manages to have the lead actors be the crème of the acting world available on the market. Thus, two actors with divergent styles and manners are involved. On one hand, Felix Rivero (played by Antonio Banderas), a typical Hollywood star blessed with international success, and on the other, Ivan Torres (Oscar Martinez, whose existence was unknown to me), an actor with a theatrical background, possibly known within the sphere of serious theater. It's needless to say that sparks will fly between the two, and the story will take on tragic aspects that shouldn't be revealed to avoid spoiling the pleasure of discovery (and the film's title already gives some hints...).

There are undeniably amusing moments in the plot, linked to the diva-like antics of the two actors in constant tension, but where the character of the director Lola Cueva is sketched, some exaggerations become evident. Yes, she is an experimental director, but the way she subjects the two actors to rehearsals has a distinctly sadistic flavor. How can one, with the intent of nullifying the ego of two stellar performers, summon them for rehearsals only not to show up herself? And always for this purpose, she ties the hapless pair with ropes and tape, making them witness helplessly the destruction of their certificates and awards for past performances in films and stage plays? Yes, I laughed at that moment, but then I wondered if all this was not a forced satire of certain experimental cinema. When did great innovative directors like Godard, Herzog, Wenders (just to name a few) ever treat actors and actresses they directed so sadistically?

Of course, there is no disputing Penelope Cruz's performance, one of the best actresses around. Just as Banderas and Martinez are equally impactful. But if the plan is to revive the fortunes of film distribution with movies so only half-successful, I believe the goal will not be achieved.