Betibú (2014)

Original title: Betibú: Chronicle un crimen

Origin: Argentina / Spain

Directed by Miguel Cohan

Screenplay: Miguel Cohan, Ana Cohan, Claudia Piñeiro

With: Mercedes Morán, Daniel Fanego, Alberto Ammann, José Coronado

Today I write about another Argentine film, actually more a co-production Argentina / Spain. This time, however, a more classic movie in its aesthetic, rhythm and content, and that perhaps appeals more easily looks not so accustomed to the art film, slower and without major actions.


Betibú is a thriller that revolves around the investigation of a murder. Or more.

Based on the book by Claudia Piñeiro, the movie starts revealing to us the death of Pedro Chazarreta, powerful businessman, who turns up dead in his mansion located on the outskirts of Buenos Aires, the luxury condominium La Maravillosa.

With a camera-dancer, owner of gentle movements and well choreographed, and rocked by the rhythm of jazz coming out of the turntable dead, the film has opened with a first super elaborate sequence, showing your face style. Interestingly, these so delicate and feminine moves contrast in principle with the mortuary and masculine theme of the film. But perfectly match your protagonist, Nurit Iscar (Mercedes Morán) - police author, away from scripture, after a failed attempt to write a novel. She will be in charge of covering the assassination for the newspaper El Tribune, thus giving it a bias of fiction.

Woman strong, intelligent and at the same time, feminine and seductive, Nurit is also known by the closest as Betibú ...

To cover this murder mystery, will join the writer two most Musketeers: Jaime Brena (Daniel Fanego) and Mariano Saravia (Alberto Ammann). Brena is the most experienced of all and not only covered the death of Chazarreta's wife, as was also the last to interview him before his death. Mariano is already the beginner in the world of journalism police, newcomer "Alien" where he made his studies. Not have much experience, but has that slight arrogance (or pride) as common in youth believed to unbeatable and we want to do everything different. The film will indeed play all the time as the contrasts between the two: the old and the new; technology and tradition; the experience and daring; intellectual and popular; theory and practice, reality and fiction, and so on. Something very cliché, of course, but that does not disturb the smooth running of the film.

Thus, under the command of ex lover Betibú, played by Spanish actor Jose Coronado, the three musketeers they unfold this complicated skein of deaths without authors, thanks to the union of their "superpowers": experience, boldness and imagination.

Betibú is a light film - despite the subject - holding from start to finish. It has a great pace and great track. It is much more to classic Hollywood movie than to European art cinema (to stay within the clichés). But if we look closely, there here and there, the brand of Argentine cinematography, that feels so good to mix the two styles, producing interesting films, easy to watch, but that does not downplay the viewer's intelligence.

The end may seem a bit confusing, as it explicitly mixes reality and fiction, and - as the critics said here - gives some the impression that has been resolved in a hurry. But for me, it is precisely this confusion that gives grace to the movie.

PRA being distracted.

PS. It took a lot for that "fell plug" that Betibú was a reference to Betty Boop, American cartoon character, created in the 1930s, and rightly showed a young woman ahead of her time, independent, without ever losing the charm and femininity. Even the scene where the Brena journalist's home watching the cartoon Betty Boop made ​​me see the connection. Many scenes later that had the crack ... And jazz played in the movie obviously helped that also has everything to do with it!

~ By Lilia Lustosa on September 1, 2015.

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